Podcasts about The Mamas and the Papas

A mix of Top 40 hits from May 1966! Artists include The Lovin' Spoonful, The Rolling Stones, Bob Dylan, Johnny Rivers, The Temptations, The Mamas and the Papas, The Capitals and more! (R)

This week we're joined by Richmond, VA Circuit Court Judge Richard Campbell. No, we're not in trouble - Richard, who wrote the book "Gettin' Kinda Itchie: The Groups That Made the Mamas & the Papas", is here to talk The Mamas & the Papas and their often overlooked S/T second album 'The Mamas and The Papas' Court is in session! Songs discussed in this episode: I Saw Her Again Last Night (The Mamas and The Papas cover) - Trombones Unlimited; California Dreamin', No Salt On Her Tail - The Mamas & The Papas; Like A Rolling Stone - Bob Dylan; Here In My Arms, Trip, Stumble and Fall, Dancing Bear, Words Of Love, My Heart Stood Still, Dancing In The Street, I Saw Her Again, Strange Young Girls, I Can't Wait - The Mamas & The Papas; 500 Miles - The Journeymen; Even If I Could - The Mamas & The Papas; No More Running Around - The Lamp Of Childhood; That Kind Of Girl, Once Was A Time I Thought - The Mamas & The Papas; Make Your Own Kind Of Music - Cass Elliot; Tempo no Tempo - Os Mutantes

I'm thrilled to have Georgie Fuller and Will Turner of The Heavy Heavy on the show this week!!  Just off their amazing Fall tour in support of their debut full-length album, One of a Kind, Georgie and Will sit down to reflect with me on everything from touring, to their unique musical partnership, to the impact of bringing their retro-sounding but forward-facing vibe to audiences across the country and into the UK and Europe. A product of their love of the 60s and early 70s, Georgie and Will love that sound of a bygone era, but at the same time have created something entirely unique and absolutely stunning and special. All that said, these two are stellar humans who have a fun-loving and sweet vibe that sends ripples of positivity throughout their music, and who doesn't love that?  We talk about it all in this amazing conversation. So let's all celebrate going back to the future with The Heavy Heavy!!   For more information on Roadcase: https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

Do androids dream of electric California? Covers by: Jose Feliciano, Bobby Womack, The Beach Boys, Die Geschwister Pfister, Safari, Sia, Freischwimmer, Leo Tidal playlist here

Before they were flattened into part of the public's collective generic memory of the 1960s, and before an astonishing level of in-fighting and tragedy turned the group's story into one of the best VH1: Behind the Music episodes, The Mamas and the Papas released one of the best debut albums of the 1960s. It produced three massive hits you've heard hundreds of times apiece if you listen to oldies radio, but it also produced a handful of worthwhile deeper cuts, with interesting songwriting (most of the time) and top-notch singing throughout. John leads a discussion with Amanda, Phil, and Ben about the collection of musicians who created one of his favorite 1960s albums and one of the most jaw-dropping soap-operas of the decade.Cohosts: John McFerrin, Ben Marlin, Phil Maddox, Amanda RodgersComplete show notes: https://discordpod.com/listen/147-the-mamas-and-the-papas-if-you-can-believe-your-eyes-and-ears-1966Discord & Rhyme's merch store: http://tee.pub/lic/discordpodSupport the podcast! https://www.patreon.com/discordpod

This week on Classic Vinyl Podcast, Justin and Tyler listen to and review The Mama's and The Papa's hit 1965 single California Dreamin'. As probably the most recognizable song from the group, how do you think it still holds up today? Give it a listen and let you know what you think.

First there were all the seminal, early folk outfits…then came The Mamas & The Papas, and now…welcome to The Solo Years, where plenty of buried treasure and fascinating insanity awaits! (I'm lookin' at you, John.) In this, the very last episode of Discograffiti's Mamas & Papas Series, Richard Campbell (@richcbart) & creator/host Dave Gebroe explore & rate John's solo recording career. Here's just a choice sampling of what's bandied about in this podcast: The monstrous failure of John's 1975 off-Broadway flop “Man On The Moon”; How John was responsible for the final Rolling Stones album of their classic Mick Taylor era, and why those recordings went unreleased; And a stark account of possibly the most self-destructive bender any one human being has ever undertaken in the history of narcotics abuse. Listen: https://podfollow.com/1592182331  If you're a John Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of Discograffiti's “Michelle Phillips: Interview of a Lifetime” Series—this episode alone features no ads and AN ADDITIONAL 17 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers. Discograffiti's 4-show-a-week release schedule can be yours for the price of a cup of coffee a week.   Order the Digital package of our METAL MACHINE MUZAK double album (feat. Lou Barlow, Cory Hanson, Mark Robinson, & Will Cullen Hart): www.patreon.com/discograffiti/shop/197404 Please help support the show by ordering some choice goods from our new merch shop: https://discograffitipod.myspreadshop.com/all Order your copy of our guest Richard Campbell's incredible new book Gettin' Kinda Itchie-The Groups That Made The Mamas & The Papas right now! CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti To order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404 To Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

First there were all the seminal, early folk outfits…then came The Mamas & The Papas…and now welcome to The Solo Years, where plenty of buried treasure and fascinating insanity awaits! (I'm lookin' at you, John.) In this special penultimate installment of Discograffiti's Mamas & The Papas Series, Richard Campbell (@richcbart) & creator/host Dave Gebroe explore & rate John's solo recording career. In this special 2-part final installment of our Mamas & Papas series, here's just a choice sampling of what's bandied about: An intense deep dive down into the murky deep of John's classic 1970 solo LP John, The Wolfking Of LA; The measly, solitary single that emerged as the result of John's $50,000 advance from Clive Davis; And the legendary origin story behind John's classic song “Me & My Uncle,” which was written while he was blackout drunk…and went on to become the most performed song in Grateful Dead history! Listen: https://podfollow.com/1592182331  If you're a John Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of Discograffiti's “Michelle Phillips: Interview of a Lifetime” Series—this episode alone features no ads and AN ADDITIONAL 15 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers. Discograffiti's 4-show-a-week release schedule can be yours for the price of a cup of coffee a week.   Order the Digital package of our METAL MACHINE MUZAK double album (feat. Lou Barlow, Cory Hanson, Mark Robinson, & Will Cullen Hart): www.patreon.com/discograffiti/shop/197404 Please help support the show by ordering some choice goods from our new merch shop: https://discograffitipod.myspreadshop.com/all Order your copy of our guest Richard Campbell's incredible new book Gettin' Kinda Itchie-The Groups That Made The Mamas & The Papas right now! CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti To order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404 To Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

First there were all the seminal, early folk outfits…then came The Mamas & The Papas…and now welcome to The Solo Years, where plenty of buried treasure and fascinating insanity awaits! (I'm lookin' at you, John.) In this special penultimate installment of Discograffiti's without-precedent 16-hour interview, Michelle Phillips guests along with band biographer Richard Campbell (@richcbart) & creator/host Dave Gebroe as we put our heads & hearts together to explore & rate Michelle's solo recording career. We talk about: Every musical gesture she made after leaving The Mamas & The Papas; What it was like working with notorious wildman Jack Nitschze on her lone solo LP Victim Of Romance; And the last time she ever stepped in a recording studio, when she provided background vocals for what turned out to be a ubiquitous #1 smash hit! Listen: https://podfollow.com/1592182331  If you're a Michelle Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of Discograffiti's “Michelle Phillips: Interview of a Lifetime” Series—this episode alone features no ads and AN ADDITIONAL 7 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers. Discograffiti's 4-show-a-week release schedule can be yours for the price of a cup of coffee a week.   Order the Digital package of our METAL MACHINE MUZAK double album (feat. Lou Barlow, Cory Hanson, Mark Robinson, & Will Cullen Hart): www.patreon.com/discograffiti/shop/197404 Please help support the show by ordering some choice goods from our new merch shop: https://discograffitipod.myspreadshop.com/all Order your copy of our guest Richard Campbell's incredible new book Gettin' Kinda Itchie-The Groups That Made The Mamas & The Papas right now! #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

First there were all the seminal, early folk outfits…then came The Mamas & The Papas…and now welcome to The Solo Years, where plenty of buried treasure and fascinating insanity awaits! (I'm lookin' at you, John.) In Part 6 of this without-precedent 16-hour interview, Michelle Phillips guests along with band biographer Richard Campbell (@richcbart) & creator/host Dave Gebroe as we put our hearts & minds together for the singular purpose of exploring and rating Cass Elliot's solo recording career. In this episode, we reveal: Brutal details about Cass's fumbled 1968 solo career coming-out party in Las Vegas, when she took the stage high on heroin; The confusing divide between Cass's predilection for both tin pan alley-style song selection and countercultural material; And a fact-based demystification of the details surrounding her death.  Listen: https://podfollow.com/1592182331  If you're a Michelle Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of Discograffiti's “Michelle Phillips: Interview of a Lifetime” Series—this episode alone features no ads and AN ADDITIONAL 18 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! In addition, the 30-minute Denny Doherty Solo Years episode (also featuring Michelle) is for Patreon subscribers only (Major Tier & higher), and was released earlier this week! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers. Discograffiti's 4-show-a-week release schedule can be yours for the price of a cup of coffee a week.   Please help support the show by ordering some choice goods from our new merch shop: https://discograffitipod.myspreadshop.com/all Order your copy of our guest Richard Campbell's incredible new book Gettin' Kinda Itchie-The Groups That Made The Mamas & The Papas right now! CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ To Order the 2xVinyl or Digital METAL MACHINE MUZAK packages: www.patreon.com/discograffiti/shop/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

(To win a personalized 8x10 Michelle Phillips autograph, keep reading.) Simply put, this is the best interview I've done to date.  It helps that band biographer Richard Campbell (@richcbart) and I were faced with a woman who was ready to come clean, to be so vulnerable, so funny….and SO RAW.   In Part 5 of this without-precedent 16-hour interview, Michelle burrows headfirst into some seriously traumatic territory, namely: The time John Phillips saved her from being murdered; The two horrifying images she pictures whenever she thinks of the sessions for The Mamas & The Papas' final LP, People Like Us; And a frank discussion of her most forbidden topic…her 8-day marriage to Dennis Hopper. Listen: https://podfollow.com/1592182331  If you're a Michelle Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of Discograffiti's “Michelle Phillips: Interview of a Lifetime” Series—Part 5 alone features no ads and AN ADDITIONAL 29 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week.   Please help support the show by ordering some choice goods from our new merch shop: https://discograffitipod.myspreadshop.com/all Order your copy of our guest Richard Campbell's incredible new book Gettin' Kinda Itchie-The Groups That Made The Mamas & The Papas right now! TO WIN 1 OF 10 PERSONALIZED 8X10 MICHELLE PHILLIPS MONTEREY POP AUTOGRAPHS, JUST RE-POST THIS SHOW'S PROMO ON SOCIAL MEDIA AND TAG Discograffiti, Dave Gebroe, & @richcbart THROUGH THE DURATION OF THIS SERIES…DOING IT FOR EACH INSTALLMENT WILL ONLY IMPROVE YOUR ODDS! CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

(To win a personalized 8x10 Michelle Phillips autograph, keep reading.) Simply put, this is the best interview I've done to date.  It helps that band biographer Richard Campbell (@richcbart) and I were faced with a woman who was ready to come clean, to be so vulnerable, so funny….and SO RAW.   During Part 4 of this without-precedent 16-hour interview, the legendary singer and actress from The Mamas & The Papas tells it exactly like it is, in between rating everything the band's ever released.   In Part 4, Michelle reveals: A blow-by-blow of how she wound up falling in love with Mamas & Papas producer Lou Adler while she was pregnant with Chynna; The true story behind how she brought “Dream A Little Dream” to the band; And her contemptuous dismissal of their 4th album “The Papas & The Mamas,” recorded while the band fell apart. Listen: https://podfollow.com/1592182331  If you're a Michelle Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of the "Michelle Phillips: Interview of a Lifetime" Series—Part 4 alone features no ads and AN ADDITIONAL 48 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week.   Please help support the show by ordering some choice goods from our new merch shop: https://discograffitipod.myspreadshop.com/all Order your copy of Richard Campbell's incredible new book ⁠Gettin' Kinda Itchie-The Groups That Made The Mamas & The Papas⁠ right now! TO WIN 1 OF 10 PERSONALIZED 8X10 MICHELLE PHILLIPS MONTEREY POP AUTOGRAPHS, JUST RE-POST THIS SHOW'S PROMO ON SOCIAL MEDIA AND TAG DAVE GEBROE & DISCOGRAFFITI THROUGH THE DURATION OF THIS SERIES…DOING IT FOR EACH INSTALLMENT WILL ONLY IMPROVE YOUR ODDS! CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠⁠https://podfollow.com/1592182331⁠⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: ⁠https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw⁠ Merch Shop: ⁠https://discograffitipod.myspreadshop.com/all⁠ Web site: ⁠http://discograffiti.com/⁠ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Today Rob is joined by guest Presenter, Lea. Rob introduces Ben E King, former lead singer of the Drifters who made a successful solo career as well. Lea talks about... LEARN MORE The post Let's Remember: Ben E King & The Mamas and The Papas appeared first on Yesterday Once More.

(To win a personalized 8x10 Michelle Phillips autograph, keep reading.) During Part 3 of this without-precedent 16-hour interview, the legendary singer and actress from The Mamas & The Papas tells it exactly like it is, in between rating everything the band's ever released.   In Part 3, Michelle reveals... A fascinating account of her participation in the origin of 1967's Monterey Pop Festival, the first rock festival of the modern era; Her harsh, gloves-off opinion of The Mamas & The Papas 3rd LP Deliver; And whether or not she felt any countercultural guilt over being the first rock group to opt for Lear Jet travel instead of vans & cars. Listen: https://podfollow.com/1592182331  If you're a Michelle Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of the Michelle Phillips: Interview of a Lifetime Series—Part 3 alone features no ads and AN ADDITIONAL 34 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week.   Please help support the show by ordering some choice goods from our new merch shop: https://discograffitipod.myspreadshop.com/all Order your copy of Richard Campbell's incredible new book Gettin' Kinda Itchie-The Groups That Made The Mamas & The Papas right now! TO WIN 1 OF 10 PERSONALIZED 8X10 MICHELLE PHILLIPS MONTEREY POP AUTOGRAPHS, JUST RE-POST THIS SHOW'S PROMO ON SOCIAL MEDIA AND TAG DISCOGRAFFITI THROUGH THE DURATION OF THIS SERIES…DOING IT FOR EACH INSTALLMENT WILL ONLY IMPROVE YOUR ODDS! CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Dave Gebroe from The Discograffiti Podcast joins us to go back to the '60s to discuss the second Mamas and the Papas album. Yeah...we skip right over the previous album that has "California Dreaming" and "Monday, Monday." Fair warning...Wayne and I didn't love the album so that makes for some fun discussion because Dave LOVES this album and loves the band. Dave loves them so much so that he has Michelle Phillips from the band on his podcast for a marathon 15 hour interview. Yep. 15 hours!  Check out this episode then check out Dave's podcast as well!Check out The Discograffitti Podcast at:  https://discograffiti.com/Check out The Mamas & The Papas here: https://www.themamasandthepapasofficial.com/

(To win a personalized 8x10 Michelle Phillips autograph, keep reading.) During Part 2 of this without-precedent 16-hour interview, the legendary singer and actress from The Mamas & The Papas tells it exactly like it is, in between rating everything the band's ever released.   In Part 2, we cover:  An in-depth analysis of their first two classic records; How Gene Clark of The Byrds really felt deep down about his affair with Michelle; And a highly emotional discussion about the devastation left behind by John Phillips' rampant drug abuse. Listen: https://podfollow.com/1592182331  If you're a Michelle Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of the Michelle Phillips: Interview of a Lifetime Series—Part 2 alone features no ads and AN ADDITIONAL 25 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Longer edits are available on either the Lieutenant or Major Tiers. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week. And if that ain't your style but you enjoyed this episode, then please don't risk feeling badly about yourself by not giving: Gofund.me/d316c87c Order your copy of Richard Campbell's incredible new book GETTIN' KINDA ITCHIE - THE STORY OF THE GROUPS THAT MADE THE MAMAS & THE PAPAS right now!: ⁠https://www.amazon.com/dp/B0CFCPBXK3/ref=sr_1_1?crid=27VWK1MC4H766&keywords=richard+campbell+books+mamas+papas&qid=1691765919&sprefix=richard+campbell+books+mamas+papas%2Caps%2C102&sr=8-1. TO WIN 1 OF 10 PERSONALIZED 8X10 MICHELLE PHILLIPS MONTEREY POP AUTOGRAPHS, JUST RE-POST THIS SHOW'S PROMO ON SOCIAL MEDIA AND TAG DISCOGRAFFITI THROUGH THE DURATION OF THIS SERIES…DOING IT FOR EACH INSTALLMENT WILL ONLY IMPROVE YOUR ODDS! CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

(To win a personalized 8x10 Michelle Phillips autograph, keep reading.) Simply put, this is the best interview I've done to date.  It helps that band biographer Richard Campbell and I were faced with a woman who was ready to come clean, to be so vulnerable, so funny….and SO RAW.  During Part 1 of this without-precedent 16-hour interview, the legendary singer and actress from The Mamas & The Papas tells it exactly like it is, in between rating everything the band's ever released.   In Part 1, we're treated to… An in-depth exploration of the group's very first acid trip together; A glimpse into Michelle's intense hatred toward one of The Mamas & The Papas' biggest ever hits; And in all likelihood, the most mythologically crazy backstory in rock history. Listen: https://podfollow.com/1592182331  If you're a Michelle Phillips & Mamas And The Papas superfan like me, you'll want the DIRECTOR'S CUT of this & the rest of the installments of the Michelle Phillips: Interview of a Lifetime Series—Part 1 alone features no ads and AN ADDITIONAL 18 MINUTES of essential material that we had to cut for time: https://www.patreon.com/discograffiti/shop/ Or subscribe! Longer edits are available on either the Lieutenant or Major Tiers. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week. And if that ain't your style but you enjoyed this episode, then please don't risk feeling badly about yourself by not giving: Gofund.me/d316c87c Order your copy of Richard Campbell's incredible new book GETTIN' KINDA ITCHIE - THE STORY OF THE GROUPS THAT MADE THE MAMAS & THE PAPAS right now!: https://www.amazon.com/dp/B0CFCPBXK3/ref=sr_1_1?crid=27VWK1MC4H766&keywords=richard+campbell+books+mamas+papas&qid=1691765919&sprefix=richard+campbell+books+mamas+papas%2Caps%2C102&sr=8-1. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #michellephillips #themamasandthepapas #johnphillips #mamacass #themamasandpapas #casselliot #dennydoherty #mamasandthepapas #mamamichelle #gettinkindaitchie #wilsonphillips #papadenny #mamamichellephillips #montereypopfestival #scottmckenzie #knotslanding #mamasandpapas #montereypop #montereypopfestival #californiadreaming #chynnaphillips #genevievewaite #louadler #jillgibson #dennishopper #mackenziephillips #greenguccibag #discograffiti #metalmachinemuzak #soldiersofsound  --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Considering most of our favorite rock stars live extraordinarily fascinating lives, you'd think there would be more of them writing songs about specific things they've experienced. In fact, there aren't that many but the songs we do have are cool little glimpses into the personal lives of our musical heroes. In TOP TEN AUTOBIOGRAPHICAL SONGS, the mighty Jason Berk joins to discuss and play our favorites from this exceedingly rare selection. Part 2 features picks 5-1.If you somehow missed Part 1, go listen here first:https://podcasts.apple.com/us/podcast/episode-607-top-ten-autobiographical-songs-part-1-w/id573735994?i=1000648755158Dig on the songs themselves without us yapping over them. Listen to the Top Ten Autobiographical Songs Spotify playlist, bumper songs included:https://open.spotify.com/playlist/2DIexp5eopohhgy312dNeH?si=4ec8ada17ace4d99ATTT Patreon is back! Get a bonus EMERGENCY POD every month for just $5 a month.https://www.patreon.com/alltimetoptenPost about anything music! Join the ATTT Facebook chat group and carouse with listeners and Pals O' The Pod about our favorite subject.https://www.facebook.com/groups/940749894391295Jason is always up to something musical. Check out his stuff, won't you?https://www.jasonberkmusic.com/

In this Season 6 episode, I discuss the Mamas and the Papas' hit album, The Mamas and the Papas, giving a quick history of how the album came together, a rundown of the songs, my own personal take and ranking of the songs, and my overall rating of the album. --- Support this podcast: https://podcasters.spotify.com/pod/show/dorneysvinyl/support

Les Foo Fighters sortent un single avec le groupe de R&B H.E.R. Dans une nouvelle interview , le fils d'Ozzy Osbourne, Jack, est revenu sur l'état de santé de son père et a confié qu'il ne voyait d'ailleurs aucun des membres de Black Sabbath remonter sur scène de sitôt. Ghinzu fait son grand retour pour célébrer les 20 ans de son album emblématique "BLOW" à l'Ancienne Belgique le 10 juin 2024, pour un concert exceptionnel. « Now And Then » des Beatles en vinyle vient de devenir le single vendu le plus rapidement du siècle. La fille de "Mama" Cass Elliot a reparlé des rumeurs autour la mort de sa mère, qu'elle a qualifiées de "douloureuses". La version démo complète d'une collaboration inédite entre Slash, guitariste de Guns N' Roses, et Chester Bennington, chanteur de Linkin Parkk, peut être écoutée en streaming sur notre site. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

The mamas and the papas were a folk-rock vocal group formed in Los Angeles, which recorded and performed from 1965 to 1968.

A deep dive into the second album of The Mamas and The Papas. --- Send in a voice message: https://podcasters.spotify.com/pod/show/kelli-n/message Support this podcast: https://podcasters.spotify.com/pod/show/kelli-n/support

All The Leaves Are Brown - The Mamas and The Papas -    Scott Shea The Not Old Better Show, Music Today Interview Series Welcome to The Not Old Better Show on radio and podcast.  I'm Paul Vogelzang, and today's show is brought to you by Babbel.com. Babbel…the language for life! We have a fantastic interview and subject today with our guest, author Scott Shea, whom I'll introduce in just a moment. But quickly, if you missed any episodes, last week was our 723d episode when we spoke with psychologist Dr. Jennifer Guttman about her new book, Beyond Happiness: The 6 Secrets of Lifetime Satisfaction. Two weeks ago, I spoke with Editor-in-Chief at Prevention Magzaine, Sarah Smith. Prevention Magazine has been a leading provider of trustworthy health information, empowering readers with practical strategies to improve their physical, mental, and emotional well-being for 70 years! Excellent subjects for our Not Old Better Show audience. If you missed those shows, along with any others, you can go back and check them out with my entire back catalog of shows, all free for you, there on our website, NotOld-Better.com. You can Google Not Old Better and get everything you need about us! For our Not Old Better Show audience on radio and podcast, we know that there are only a few songs that have captured the contradictions and ambiguities of the 1960s as memorably as “California Dreamin',” the iconic folk music single that catapulted the Mamas & the Papas into rock and roll history. In the book, All the Leaves Are Brown, our guest today, author Scott Shea will tell us how John Phillips, Denny Doherty, Michelle Phillips, and “Mama Cass” Elliot became standard-bearers for California counterculture following their transformation from folk music wannabes to rock sensations and chronicling the tumultuous events that followed their unexpected success. Scott Shea gives us a definitive account of the Mamas and the Papa's short time together, from their hitmaking approach with legendary producer Lou Adler to John Phillips' unique songwriting to tours and friendships with other musicians riding the folk-rock wave. You'll love this story, interview and all the music, so please join me in welcoming to The Not Old Better Show on radio and podcast, author Scott Shea. My thanks to author Scott Shea author of the new book,  All the Leaves Are Brown.  My thanks toBabbel.com. for sponsoring today's episode. Babbel…the language for life! My thanks to the wonderful Smithsonian team for all they do to support the show.  My thanks to you, my wonderful Not Old Better Show audience here on radio and podcast.  Please be well, be safe, and let's talk about better.  The Not Old Better Show on radio and podcast.  Thanks, everybody, and we'll see you next week.

Hello Friends! It's time to jump back into the world of The Mamas and The Papas today, with their self-titled second LP from November 1966. A fantastic collection of music from the canyon, we of course saw original release in both mono and stereo, while final single 'Words of Love' also received a new dedicated mix with overdubs for 45 release. There's some fantastic differences here to dig into, but also some mixes that really serve each other well, making choosing a favourite a difficult task. So don't trip, stumble and fall grab your dancing bear and let's go dancing in the street!   Happy Listening, Frederick Patreon   Email   Instagram   Back to Mono

Scott Shea joins John Landecker to talk about his new book, All the Leaves Are Brown: How the Mamas & the Papas Came Together and Broke Apart. Shea’s biography details the rise and fall of the 60s folk rock band. You can get the book here.

Su estreno discográfico de 1966 los puso en la órbita de la música popular pero no logró esconder las adicciones e infidelidades que terminarían por disolver a la banda.

Denny Tedesco is the Director of “The Wrecking Crew”, an award winning documentary film about the group of studio musicians based on the West Coast who played on hundreds of hit records in the ‘60s and ‘70s for The Beach Boys, The Mamas And The Papas and so many more. He is also the director of another documentary called “Immediate Family”, about the studio musicians who formed the backing band for so many of the great ‘70s singer-songwriters like James Taylor, Carole King, Jackson Browne and others.My featured song is “Stockbridge Fanfare”. Spotify link—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Denny and I discuss the following:‘60s music by The Wrecking Crew as the soundtrack to our livesTommy Tedesco - guitarist with The Wrecking CrewRoundtable discussionLiner notes and lack of credits“Pet Sounds” - Beach BoysThe AssociationLou Adler - Mamas and PapasMultiple sessions per day3 hours per sessionPlaying live in the studioAll “Michael Jordans”Social interactions among the musiciansHow they got the nameMaking the Wrecking Crew filmFather had terminal diagnosisRoundtable discussionBroadway Danny Rose and Diner as inspirationVisiting his father in the studioStarted the process in 19961998: Got Dick Clark, Cher, Nancy Sinatra2006: most expensive home movie everFinanced on his credit cardsProducing TimeLife infomercials to make a living2008: festivals. 12 audience awards. Great reviews. But in debtStarted selling song dedications from the movieClown school dedication2015: Picked up by MagnoliaWent on NetFlixInfluence of Wrecking Crew film on other documentariesImmediate Family filmFeatures 3 of the 4 guys originally in The SectionWorked with all the singer-songwriters in the 1970sBrought in investorsAll the stars participated in the film3 festival“BOBBY M AND THE PAISLEY PARADE” is Robert's new album. Featuring 10 songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. Produced by Tony Carey. Called "ALBUM OF THE YEAR!" by Indie Shark and “One of the great rock sets of the year!” by Big Celebrity Buzz. "Catchy and engaging with great tunes!" - Steve Hackett (Genesis)"This album has life and soul!" - John Helliwell (Supertramp)"Bobby M rocks!" - Gary Puckett (Union Gap)"Nice cool bluesy album!" - Jim McCarty (The Yardbirds)"Robert really really really rocks!" - Peter Yarrow (Peter Paul & Mary)"Great songs. Great performances. It's a smash!" - David Libert (The Happenings)Click here for all streaming links. Download here.LIVE AT STEELSTACKS is the 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. “Captivating!” Elliott Randall (Steely Dan) “PGS burns down the house!” Tony Carey (Rainbow)“Full of life!” Alan Hewitt (The Moody Blues) “Virtuoso musicians!” (Melody Maker) “Such a great band!” (Hollywood Digest) The album can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.ALL OF THE TIME is Robert's recent single by his band Project Grand Slam. It's a playful, whimsical love song that's light and airy and exudes the happiness and joy of being in love. “Pure bliss…An intimate sound with abundant melodic riches!” Melody Maker/5 Stars) “Ecstasy…One of the best all-around bands working today!” (Pop Icon/5 Stars) “Excellence…A band in full command of their powers!” (Mob York City)Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.THE SHAKESPEARE CONCERT is the album by Robert's band, Project Grand Slam, recorded "live" in the studio. It's been praised by Mark Farner (Grand Funk Railroad), Jim Peterik (Ides Of March), Joey Dee (Peppermint Twist), Elliott Randall (Steely Dan) and Sarah Class (British composer). Reviews: “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. THE FALL OF WINTER is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.FOLLOW YOUR DREAM HANDBOOK is Robert's Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with Denny at:www.immediatefamilyfilm.comwww.wreckingcrewfilm.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFacebook - www.facebook.com/followyourdreampodcastEmail Robert - robert@followyourdreampodcast.com Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comInstagramPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Sam Paddor and John York discuss John's time playing bass for The Byrds, the Mamas and the Papas as well as our shared obsession with Bob Dylan.John York's Website:https://www.johnyorkmusic.comMy Back Pages Website:https://www.mybackpages.org 

The wildest on-stage freak outs (and even deaths), Jake's master movie list, your texts calls and emails, and of course... the down low on the latest episode in our extended Manson coverage: the Mamas & the Papas Part 1.

Got a Disgraceland pitch? Know a cover that beats the original? What are you reading watching and listening to? Jake closes out Season 10 of Disgraceland with a fan mailbag deep dive. Leave your own message at 617-906-6638 and join the After Party.

Contributions in appreciation of the show can be sent through Paypal. The only information that's necessary is Dave's personal email at orgustine@gmail.com.Thanks for listening! >Unrequitted Winter Love Part 2: Shooting Star by The Mamas And The Papas;Say You Will,Angel & Silver Spring by Fleetwood Mac

Contributions in appreciation of the show can be sent through Paypal. The only information that's necessary is Dave's personal email at orgustine@gmail.com.Thanks for listening! >Unrequitted Winter Love Part 1: Bare Trees by Fleetwood Mac & Dedicated To The One I Love by The Mamas And The Papas

‘''The'', comme The Doors, comment il se prononce ? On dit ''de doors'', mais on devrait dire ''di'', en même temps on dit bien di pour the end non ? Alors on dit ''di doors'' ? Mais ce ‘'th'' comme dans ''three'', c'est imprononçable pour nous pauvres francophones. Ce n'est pas pire que les parisiens qui nous mettent du zzzz partout ze doors, ze strokes, ze cure, finalement, ils n'ont pas tort, c'est moche, mais c'est plus simple : Ze Mamas and Ze Papas. Impossible de ne pas évoquer " THE " Beatles… The Platters… The Trashmen… --- 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.

We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. 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 As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

A review of the debut album of The Mamas and the Papas. “If You Can Believe Your Eyes and Ears.” Released in early 1966, it hit number one on the Billboard charts. --- Send in a voice message: https://anchor.fm/kelli-n/message Support this podcast: https://anchor.fm/kelli-n/support

Jackie and me have a good look at the UK Top 30for the week of 20th September 1967.

Our last Album of the Month (AOTM) was the beautiful 'Life on Earth' by Hurray for the Riff Raff. This month the  This Is Not Happening crew tackle Kendrick Lamar's 'Mr. Morale & the Big Steppers'  head on! We get stuck right into this challenging album in Part 1 of the pod. In Part 2, we play 'Spin It or Bin It?' where we judge the tracks that we've chosen for this month's theme.Part 1 - Album of the MonthThis month it's Nolan's choice, Kendrick Lamar's 'Mr. Morale & the Big Steppers' . We discuss the album in length, favourite tracks and their impact on us and other music fans and if there is a missing track from this album. We want you to have access to great conversations about great music - here are some links to some of the best content on this album that we've consumed;A great 'explainer' article from Ambrosia for Heads  - read hereNYT's Popcast Podcast Episode (this one is great for a Kendrick Sceptic view) - listen hereGreat Tempo Tribe Podcast conversation - listen hereA shorter listen at 22 mins - the NPR Pop Culture Happy Hour podcast - listen hereThis was one of our toughest albums to think and to talk about ... but we hope you enjoy it.Part 2 - Spin it or Bin ItIn the second part of this episode we get stuck into 4 tracks representing this months theme - 'LA Tracks' - or favourite tracks from LA based artists. We all pick a track,  introduce our track and ask the others the painfully binary critical question; 'spin it' or 'bin it?' We try not to go super-obvious on our track selections each month ... this is what we chose to represent LA;Joey's track selection is - 'Chum' by Earl SweatshirtDavid's track selection is - 'Twelve Thirty' by The Mamas and the PapasNolan's track selection is - 'Runners' by Evidence ft. DefariGuy's track selection is - '86' by TruncateNext MonthEpisode #25 will be with you soon - Guy will be guiding us through 'We' by Arcade Fire one of is favourite artists ever ... what could go wrong? Have a listen to the album and  share some thoughts with us on the blog or on our Insta. Other episodes of the pod and 10 years of the blog;If you enjoyed this episode, please check out the others. If that's not enough for you then there's 10 years worth of music discussion on the blog at www.thisisnothappening.net, which runs alongside the podcast choices and much, much more. So check them out so to see what we like and where we clash, and comment if something catches your eye. We'd love to see what you think. 

Alors certes, j'ai sorti l'épisode en retard de quelques heures, mais il faut avouer qu'il va valoir le coup.Déjà parce qu'avec mon invité, on a discuté entre vieux , que le pauvre à fait Allemand LV1 (brrr) et qu'en plus il à l'outrecuidance d'avoir fait de la (Zoc)radio avant tout le monde !Rhalala.C'est la playlist de skro : Bad Boyfriend de Garbage sur Bleed Like Me Fear Of The Dark d'Iron Maiden sur Rock In Rio All Day And All Of The Night de The Kinks sur To The Bone Alone de Alan Walker (feat Tove Styrke) sur Live in Bergen Without Me de Eminem sur The Eminem Show California Dreamin' de The Mamas And The Papas sur This Precious Time Moonlight Shadow de Mike Oldfield (feat Maggie Reilly) sur Crises Cordell de The Cranberries sur To The Faithful Departed Virgin State of Mind de K s Choice sur l'OST de Buffy The Vampire Slayer Bugger Off du Naheulband sur le Grimoire Audio Et le titre de la honte :Fire de Arhtur Brown sur The Crazy World of Arthur Brown - 1968 Les liens Bonus :Le live d'allan Walker.

A selection of Top 40 hits from May 1966 (R)

The Filmlosophers and Intern Amy break every conceivable time travel law of the universe and unravel the mysteries of Netflix films in the latest flick from Shawn Levy and Ryan Reynolds, The Adam Project. The Decyphering Cyphers discover not only a diamond amidst the streaming giant's originals but also the star and acting power of the young performer in the film! Has Netflix created enough hits to come out of the doghouse with folks regarding their process of blasting mass amounts of films hoping that one hits? Or is this one-off instant only a product of the creators and not the platform? Grab your time travel jets & your popcorn, & tune in to find out in this week's episode of The Filmlosophers!

British rock supergroup Cream debuted their first studio album entitled Fresh Cream in January 1967 in the United States, following the December 1966 British release.  Eric Clapton was on guitar and vocals, Jack Bruce was on bass, harmonica, piano, and vocals, and Ginger Baker was on percussion and vocals.  Clapton had come out of the Yardbirds, and both Baker and Bruce had been in the Graham Bond Organisation together.  Ginger Baker approached Clapton about joining a new band, and Clapton agreed with the condition that Bruce be used as the bassist.  Baker and Bruce had a tumultuous relationship, with Baker at one point threatening Bruce at knifepoint.  However, the two patched things up for the sake of the new group.The result of the collaboration was a success from the beginning.  Fresh Cream consisted of a mix of original compositions and blues covers, with Jack Bruce writing many of the original songs.  The band would cross rock, blues, and psychedelic genres.Cream would produce four studio albums before internal tensions would break up the band.Brian Dickhute takes us on our journey into this supergroup, and fan of the show Joe Davis joins us while Wayne is away. N.S.U.The starting track to the album was written by Jack Bruce, and gets its name from the medical condition "non-specific urethritis," a type of venereal disease.  Supposedly Eric Clapton was suffering from N.S.U. at the time the song was written, and Bruce was poking a little fun at him. Sweet Wine This is a deeper cut that encourages folks to slow down and enjoy life.  "Sweet wine, hay making, sunshine day breaking, we can wait till tomorrow."Rollin' and Tumblin' This fast blues number highlights Eric Clapton's guitar virtuosity.  The song was originally performed by Hambone Willie Newbern in 1929 in Atlanta, Georgia.  It was originally called "Roll and Tumble Blues."  Cream's version is largely based on a version performed by Muddy Waters.I'm So Glad This song is the most recognizable hit from the album, and continues to be played today.  Skip James originally recorded this in 1931, and the band made sure to give James credit for his work.   ENTERTAINMENT TRACK:It's Been Nice (from the television film "Jack and the Beanstalk") This mixed live action and animated film starring Gene Kelly was broadcast on NBC in February of 1967. STAFF PICKS:98.6 by KeithBruce kicks off the staff picks with a celebration of the joys of love.  Barry James Keefer was called Keif when he was in a group called The Admirations, but changed to Keith to avoid having a name that sounded like the Moroccan word for cannabis.  This song his number 7 on the Billboard chart. You Got to Me  by Neil DiamondRob brings us an early hit from Diamond's second studio album.  Diamond has sold more than 100 million records, and is one of the best selling musicians of all time.  Neil Diamond had ten number 1 singles.  He was inducted into the Rock and Roll Hall of fame in 2011.Ruby Tuesday by the Rolling StonesJoe Davis' staff pick is a softer song from the Rolling Stones, and their fourth #1 hit in the United States.  It was supposedly written about one of Keith Richard's ex-girlfriends.  "Goodbye, Ruby Tuesday.  Who could hang a name on you?  When you change with every new day.  Still, I'm gonna miss you."Words of Love by The Mamas and The PapasBrian closes out the staff picks with a little honkytonk cabaret number sung by Mama Cass.  This song helped put The Mamas and The Papas back on the charts, and encourages boys to demonstrate love, not rely on words of love to win a girl's heart.   COMEDY TRACK:Wild Thing by Senator BobbyThis novelty song channels the distinct accent of Bobby Kennedy into the garage band hit by the Zombies for comedic effect.

Hometown Radio 01/21/22 4p: King Harris salutes the music of the Mamas and the Papas

In 1998, superstar Shania Twain honored one of her greatest influences, the Mamas and the Papas, as she inducted them into the Rock & Roll Hall of Fame. Michelle Phillips, Denny Doherty, and John Phillips graciously accept their award, with a little help from Cass Elliot's daughter Owen. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Треклист программы: 01 Kahless - Tonight We Riot 02 Nita Strauss - Dead Inside 03 Lutharo - What Sleeps in Your Mind 04 Eric Bibb feat. Eric Gales - Whole World's Got the Blues 05 Black Diamonds - Black Thunder 06 Dan Lucas - A Place in My Heart 07 ABBA - Just A Notion 08 Duran Duran - all of you 09 Secret Society - Darkest Hour (feat. Tony Martin) 10 Cradle Of Filth - Necromantic Fantasies 11 Dream Theater - Sleeping Giant 12 Elton John (GAZAPPO & Mr. WOODCUT - Orbit 13 Keb' Mo' featuring Darius Rucker - Good Strong Woman 14 U.D.O. - Empty Eyes 15 ROD STEWART - Hold OnHold On 16 Robbin Kapsalis & Vintage #18 - Fever 17 Ben Granfelt - Breathe (Pink Floyd COVER) 18 Six Silver Suns - California Dreamin' (The Mamas And The Papas cover) 19 Enter the Hollow - Something In The Water 20 Peyton-Monarch - Heart And Soul 21 The Soaked Lamb - Two to Two 22 Shaw Davis & The Black Ties - If I Stay This Way Слушайте каждую пятницу в 15-00 с повторами на неделе на motoradio.online Все эпизоды подкаста по ссылке: ссылка

The group split into pairs for a mock wedding. When Screech and Lisa's "marriage" falls apart, Slater tries to use that to his advantage.

Heel de dag met Mama Cass in mijn hoofd.

Mica nos trajo otra historia fascinante y muy oscura detrás del arte de tapa de este disco emblemático. Escuchala los lunes desde las 10hs. #EnElPanal. Seguí a @discoverthecovers en #Instagram.

"THE OFFICIAL CASS ELLIOT WEBSITE":https://www.casselliot.com/news.htm

Hello Friends! Today we've got another Patron requested episode, taking a look at the debut LP from The Mamas and The Papas, "If You Can Believe Your Eyes and Ears". This California pop classic includes hit singles "Monday, Monday" and "California Dreamin'", along with classics like "Go Where You Wanna Go" and "I Call Your Name". The stereo mix of this album is notoriously wonky and unpleasurable compared with the cohesive sound of the mono, and with extended fades and variable balance between the two, we've got another treat for you to enjoy!  Happy Listening,  Frederick  Support the show and get hours of extra content at: https://www.patreon.com/backtomono Email the show at: backtomonoradio@gmail.com Listen to companion podcast Back to Mono: https://www.mixcloud.com/backtomonoradio/playlists/back-to-mono-complete/  Find me on Instagram @hypnoticfred Join the Facebook Community here: https://www.facebook.com/groups/backtomono

Brian breaks down TWO rumors about Mamas and the Papa's voice Mama Cass: Did a ham sandwich kill her? - AND - Did she die in the same place as another major musical legend?   Episode sponsored by: SPARK by Positive Grid - https://www.positivegrid.com/spark/ Get $10 off the week of 4/14 when you use the [...]

Estimados DESEABLES, seguimos en 1966 con un programa muuuuy especial (como es habitual) nos ha que quedado un increíble Batprograma, con un cóctel de música TV y anécdotas de lo más variopinto. Desplegad vuestras Batorejas, poneros cómodos y a disfrutar!!!!!!!!!!!!

Cass Elliot lent her enchanting voice to 1960's folk/psychedelic rock group The Mamas and The Papas. In some ways, her talent was overshadowed by her weight - the public, the media, and even members of her own band put Cass down constantly. This led to a dangerous crash diet and eventually, death at the young age of 32. And no, it wasn't from choking on a ham sandwich and anyone who spreads that rumor can GTFO. Listen to the accompanying playlist for this episode on Spotify at https://open.spotify.com/playlist/64O3813Dt8RxamxaPr3Vg3?si=AOqfkusPTRuYggeVaZHKIw .By Alex Motteler, Cassie Gardener, and Drew Orton. Music by Demons. Artwork by Mike Johnson.Support the show (https://www.patreon.com/deathbypodcastteam)

CRISPY COATED ROBOTS LISTEN TO...Jim & George play The Mamas and the Papas' 1966 debut album "If You Can Believe Your Eyes and Ears".[Original Air Date: 02/21/21 on Houston Radio Platinum]Listen to it on YouTube for free here: https://www.youtube.com/watch?v=W6m6bCDui8g&list=PLr6mgMANRNYefhMYHu68u0gvvvqmbOvjd

MERRY CHRISTMAS! this episode is extra short because it only recaps MONDAY! The rest were reruns. I followed The Drew Barrymore Show's lead and took it easy this week too. We'll be back in full force 2021 :)

El pasado 9 de Octubre se cumplía el 80º aniversario del nacimiento de John Lennon y por ello dedicamos nuestro programa a escuchar varias de sus composiciones en las voces de músicos incluidos en el gran paraguas de la Americana. El próximo martes será obligado recordar que 40 años atrás un loco asesino que no merece ni tan siquiera que se recuerde su nombre nos privó de su presencia a las puertas del edificio Dakota de Nueva York. Por eso, hoy nos adelantamos a esa fecha para recordar cómo los más significativos músicos de Americana han mirado en alguna ocasión las canciones que John Lennon creó para formar parte de la discografía de los Beatles.  El cuarteto de Liverpool grabó “One After 909” en su concierto de la terraza y esa versión en directo fue la que se incluyó en el álbum original. Era un tema de Lennon que compuso con 17 años y hacía referencia a un número, el 9, que parecía perseguirle. Nació el 9 de octubre y por entonces vivía en el 9 de Newcastle Road. Por entonces se escuchaban varias canciones que hablaban de trenes de carga como "Rock Island Line" o “Midnight Special” y John y PaulMcCartney decidieron ponerla un ritmo similar. El cuarteto llegó a grabar la canción en la primavera de 1963, durante las sesiones de "From Me to You" y "Thank You Girl”, que conformaron su tercer single, pero el resultado no les convenció y la desestimaron. Willie Nelson quiso homenajear al grupo con su propia versión. Los más veteranos artistas de country también han tenido un momento en su carrera para rememorar alguna canción de los Beatles. Kris Kristofferson también echó una mirada a los Fab 4 para versionar una canción claramente compuesta por John Lennon como fue “Paperback Writer” haciendo referencia a su faceta de escritor. Sería grabada por los Beatles cuando trabajaban en 1966 en Revolver, y aunque se editó en single en su momento, quedó fuera de sus álbumes oficiales. Se acaban de cumplir 55 años de la salida al mercado de Rubber Soul, uno de los discos más determinantes de la discografía de los Beatles y en el que las canciones de John Lennon tuvieron una significación relevante. Aquel trabajo lo cerraba “Run For Your Life”, que fue, por el contrario, la primera canción que grabaron para el disco. Para componer aquel tema sobre los celos con tonalidades de country, Lennon se basó en Elvis y su "Baby Let's Play House", utilizando incluso una frase completa de aquella canción de El Rey. John Cowan, una de las voces más potentes de la Americana, firmó en 2014 por el sello Compass para afrontar un proyecto que tituló Sixty, producido por su buen amigo y compañero de los Doobie Brothers, John McFee, y en el que pudimos encontrar una lista interminable de selectos invitados, desde Leon Russell, Alison Krauss y Rodney Crowell, hasta Bernie Leadon, Sam Bush o Chris Hillman, pasando por Huey Lewis, Bonnie Bramlett, Ray Benson y varios más. Su versión de “Run For Your Life” se convirtió en uno de los cortes de bonificación de la edición de lujo de Sixty, donde el artista de Ohio exhibió su poderío vocal. En Rubber Soul John Lennon compuso cuatro temas de forma independiente y otros tantos McCartney. También fueron cuatro en los que la pareja colaboró conjuntamente y dos los firmó George Harrison. “Norwegian Wood (This Bird Has Flown)” pasó a ser la primera canción de rock en la que aparecía un sitar y, como todo aquel álbum Rubber Soul al que pertenecía, marcó en música y letra un paso de gigante en la evolución de los Beatles. De hecho, John Lennon la creó como una carta a su mujer, Cynthia, admitiendo una aventura. Tim O’Brien aprovechó las tonalidades folkies para realizar una versión imponente que sirvió de cierre a su disco de 2011 Two Journeys. En realidad, escarbó en los antecedentes irlandeses del cuarteto de Liverpool, un importante puerto de entrada para tantos exiliados que buscaban trabajo. Una de las bandas míticas del bluegrass es Hot Rize, fundada en 1978 por Tim O'Brien, Pete Wernick, Charles Sawtelle y Mike Scap, aunque este último fue reemplazado muy pronto por Nick Forster. Además, tenían un divertido “alter ego” llamado Red Knuckles & The Trailblazers. En su álbum Shades In The Past incluyeron su particular versión de “Nowhere Man”, que también pertenece a Rubber Soul, el sexto álbum de los Beatles y que parece definir en un principio el carácter del propio John Lennon. Tras admitir posteriormente que consumía drogas, el personaje de esta canción fue analizado desde todos los puntos de vista posibles por los expertos. Como conclusión, aquél “hombre de ninguna parte” podía ser desde un “camello” al capitán del Submarino Amarillo. Rhett Miller, el nombre artístico de Stewart Ransom Miller II, siempre ha estado asociado a la banda Old 97’s como su líder y cantante solista. The Dreamer es el quinto álbum de estudio que graba al margen de su banda y un disco en el que se marca un cambio en sus exposiciones personales. Resultaba curioso que cuando Rhett Miller grababa en solitario tenía ciertas inclinaciones hacia el pop con cierto acento británico, mientras que con Old 97’s se manifestaba mucho más inclinado a las raíces. En 2005 se realizó un álbum dedicado al álbum Rubber Soul con motivo de su cumpleaños número 40, This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul, y en él participó el músico tejano con esta versión de “Girl”. El siglo XXI comenzó con una película llamada I Am Sam que protagonizaron Sean Penn y Michelle Pfeiffer. Los productores pretendieron que su banda sonora estuviera compuesta de grabaciones originales de los Beatles, pero ante su imposibilidad, optaron por reunir toda una serie de versiones de la banda de Liverpool realizadas por nombres tan sonoros como Rufus Wainwright, los Wallflowers, Sheryl Crow, Nick Cave, Ben Harper o los Black Crowes, entre otros. Poco antes de su disolución en 2002, la banda de los hermanos Robinson grabó “Lucy In The Sky With Diamonds”, una de las composiciones de Lennon siempre controvertida que formó parte en 1967 de Sgt. Pepper's Lonely Hearts Club Band, el disco que lo cambió todo. El tema de apertura del último álbum grabado por los Beatles, Abbey Road, aunque se publicara en 1969, antes que Let It Be, es uno de los más musculosos del grupo. En parte tiene que ver con la veneración de John Lennon por Chuck Berry y su entrega a las campañas en favor de la paz en las que estaba muy implicado por entonces. El tejano Delbert McClinton escogió “Come Together” para el álbum Come Together - America Salutes The Beatles de 1995, en el que participaron varios de los grandes nombres de la country music. Espléndido con la armónica, en una gira por Gran Bretaña a comienzos de los 60 con Bruce Channel, al que había acompañado en su clásico "Hey! Baby", enseñó a John Lennon algunos trucos con la armónica. Se notó mucho en “Love Me Do”. Cuando Rosanne Cash dejó el sello Columbia en 1965, la compañía publicó un recopilatorio titulado Retrospective, al que se añadió esta versión de “I’m Only Sleeping”, que John Lennon compuso para Revolver en 1966 en el reverso de una carta. Refleja a la perfección su estado de ánimo de entonces cuando no estaba de gira con los Beatles. Se pasaba el día en la cama bajo los efectos de las drogas durmiendo, escribiendo o leyendo… hasta que McCartney venía a interrumpirle para trabajar sobre las canciones. Los Beatles impulsaron el comienzo de diversas bandas del Merseybeat. Varias de sus composiciones sirvieron para que aquellos grupos empezaran a despuntar. En 1963 John Lennon entregó uno de esos temas a Billy J. Kramer & The Dakotas. Era “I Call Your Name”, que él mismo había escrito antes incluso de que se formaran los Beatles en casa de su tía Mimi, con la que se crió. Billy J. Kramer & The Dakotas la utilizaron como B de “Bad To Me”, otra composición del binomio Lennon/McCartney, pero no acabó de convencerlos, de tal forma que los Beatles hicieron su propia versión, apareciendo primeramente en Estados Unidos dentro del llamado Second Album y en 1964 en Gran Bretaña formando parte del EP Long Tall Sally. En 1966, The Mamas And The Papas, “la familia real de Laurel Canyon”, hicieron su debut con el álbum If You Can Believe Your Eyes and Ears y la dieron a conocer a nivel popular en Estados Unidos. “In My Life” se incluyó originalmente en un Lp tan imponente como Rubber Soul de los Beatles. En el texto, aunque la autoría fue compartida con McCartney, un John Lennon que acababa de cumplir 25 años recordaba con nostalgia a la gente y los lugares donde pasó una parte muy importante de sus años jóvenes. La canción tiene claras reminiscencias de “Penny Lane” y “Strawberry Fields Forever” y el músico exploraría la misma temática en los siguientes momentos de su carrera, de forma muy especial en el doble álbum del cuarteto, bien conocido como el Álbum Blanco. En 1994, Crosby, Stills & Nash editaron su álbum After The Storm coincidiendo con el 25º aniversario de su disco de debut, tras haber estado dedicados a ampliar su discografía en solitario, con dos nuevos álbumes por parte de Stills y Crosby, además de un recopilatorio de Nash. Todas las canciones de este disco que les llevó a hacer una larga gira, incluyendo el Woodstock ’94, pertenecían a los tres músicos, excepto una versión de “In My Life”.  John Lennon siempre admitió las más variadas experiencias, que se fueron ampliando con el paso de los años. El rock and roll de sus comienzos dio paso a una cierta fijación por figuras como las de Elvis, los Everly Brothers o Bob Dylan y su forma de crear canciones. Si ellos podían hacerlo, Lennon también. “You've Got To Hide Your Love Away” fue una de sus primeras reflexiones sobre su manera de escribir, que había comenzado con temas como "I'm a Loser" en el verano del 64. Lennon la compuso en casa, buscando un nuevo tema para la película Help!. Jackson Browne, que al versionar a los Beatles siempre se ha inclinado por las creaciones de John Lennon, la cantó así en uno de sus homenajes. Jonathan Edwards es un veterano artista de Aitkin, Minnesota, que empezó su carrera abriendo los conciertos de B.B. King y la Allman Brothers Band, fichando por Capricorn Records y lanzando su disco de debut hace 47 años. En 2011, Jonathan Edwards publicaba su álbum My Love Will Keep incluyendo una versión de “She Loves You”, muy alejada de como conocíamos aquella canción de los Beatles que a mediados de septiembre de 1963 se editaba como single en Estados Unidos en un pequeño sello discográfico llamado Swan Records. En este caso, “She Loves You” tiene que ver con una cierta fijación de Paul McCartney con una canción de Bobby Rydell titulada “Forget Him” (“Olvídale”) y pensó en crear una dónde preguntar “¿Ella te quiere?” y que los demás contestaran “Si”. Lo comentó con Lennon y la idea quedó flotando en el ambiente. Empezaron a trastear con las guitarras en el hotel mientras estaban de gira con Roy Orbison y Gerry and the Pacemakers y terminaron aquella composición en casa de Paul al día siguiente. Jim Lauderdale también se fijó en el álbum Rubber Soul del cuarteto de Liverpool y eligió “I’m Looking Through You”, llevándose el tema hasta el sonido de Bakersfield y las influencias de Buck Owens. Producido por Phil Madeira y grabado en la Music City, Nueva York y San Francisco, el álbum Let Us In Americana contaba entre los invitados con Buddy Miller, Will Hoge, Rodney Crowell, Ketch Secor de Old Crow Medicine Show, Steve Earle y Allison Moorer. Escuchar audio

On today’s show, Mark-Paul and Dashiell discuss the episode of Saved by the Bell where a bizarre class project sees the gang paired off in mock marriages. Learn more about your ad choices. Visit podcastchoices.com/adchoices

EFEMERIDES CON YOLANDA COUCEIRO | Beach boys, U2, The Mamas and the Papas, Albert Collins, Ayumi Hamasaki...

EFEMERIDES CON YOLANDA COUCEIRO | Beach boys, U2, The Mamas and the Papas, Albert Collins, Ayumi Hamasaki...

This week, Zack and Kelly have a baby named Screech.

Perhaps one of the most legendary rock bands of all time had its best lineup at their incarnation in 1964 as Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon formed ‘The Who.’ Let’s take a deep dive now into the band’s story: Before the band decided on “the Who,” they were named the Detours, and then, The High Numbers, starting out as a cover band performing American R&B songs Though the band started in ’64, the turmoil kicked in just one year later in 1965 as Roger Daltrey was kicked out of the band after a fight with Keith Moon. Apparently, Daltrey flushed Moon’s drugs down the toilet because he felt it was affecting his performance. Roger apologized and was let back into the band three days later Moon died of a drug overdose combination of sleeping pills and alcohol in 1978. He died in the same apartment in London where Mama Cass Elliott from the Mamas And The Papas died four years earlier. The apartment was owned by Harry Nilsson, who let friends stay there when they came to London. After Moon's death, Nilsson never came back During a Who concert on May 16, 1969 at New York City's Fillmore East, a man rushed the stage and tried to take the microphone. Roger Daltrey punched him in the face, and Pete Townshend kicked him in the crotch. Just next door, a grocery store was in the midst of a five alarm fire and the man turned out to a plain-clothes policeman trying to warn the crowd. Townshend was later arrested for the assault In 1969, they played Woodstock but John Entwistle said it was “probably the worst-ever festival experience we ever had.” Entwistle was found dead in his Las Vegas hotel room on June 27, 2002. The band was to begin a tour the next day, and while they postponed the first dates, The Who did the tour anyway. A coroner's report found that Entwistle was doing cocaine before he died The Who were also responsible for the deaths of their own concertgoers. A lawsuit in 1979 found the band, the Riverfront Coliseum, the promoter, and the city of Cincinnati were all liable in the deaths of 11 people that were among a massive crowd of people rushing to see the band perform while they began warming up and sound checking. Apparently people outside thought they were starting the show without them and didn’t want to miss their chance to see the perceived beginning of the show After all of the tragedy the band has faced, they are still rolling today with the help of Townshend and Daltrey, having released their latest new album in December of 2019

When the gang is put through these scenarios, you almost wonder if it's for someones own sick enjoyment. Enjoy!

Hello we are The Tone Deaf Hippies and this is our new Music Podcast. We will compare and contrast two similar bands each week and entertain you with random useless information about these amazing bands. Tune in and support! Just don't Hate! Thanks! ✌

Richard and Linda Thompson - I Want To See The Bright Lights Tonight (1974) The Free Design - 2002 - A Hit Song (1969) Noel Murray from the AV/Club wrote: By 1969, the New York sunshine-pop act The Free Design had released two albums and a string of singles, and all the band had to show for that effort was a handful of well-received TV appearances and one minor regional hit (1967’s “Kites Are Fun”). So on album number three, Heaven/Earth, Free Design frontman Chris Dedrick briefly set aside his usual lyrics about pretty days and happy vibes, and wrote a song about his group’s predicament. One of the most talked-about movies of 1968 was 2001: A Space Odyssey, a mind-blowing vision of a nigh-inconceivable future. With “2002: A Hit Song,” Dedrick imagined something that at the time, to him, seemed even more far-fetched. Sonically, “2002” resembles nearly every other Free Design song. It’s airy and upbeat, with an arrangement that emphasizes the harmonies of Dedrick and his bandmates (who were mostly his siblings). The Free Design was like an east coast adjunct of California pop combos The Association, The 5th Dimension, and The Mamas And The Papas, but with lyrics more in line with the burgeoning “bubblegum” movement, and instrumentation the wouldn’t have sounded out of place on one of The Anita Kerr Singers’ easy-listening albums. They were simultaneously freakier and squarer than any other young band trying to make the charts at the time. That quirkiness is the best explanation for the oddity that is “2002: A Hit Song.” Beginning with a little studio trickery courtesy of engineer Phil Ramone (later the go-to producer for Billy Joel and Paul Simon), the speeded-up voices of the Dedricks sing hello to DJs and “teenyboppers,” before launching into a pitch for the song itself. The Free Design insists that “2002” is unique, fast-paced, well-promoted, and sung “with reckless abandon,” which means there’s no way it won’t be a “hit hit hit.” The band then tacks on a twist ending, admitting that all their previous songs were equally catchy, but failed anyway. PSA - Englewood Police Department - Boys Beware (1961) Ralph was sick! Ralph was a homosexual! Jimmy No!!! PSA - Batman, Robin, Batgirl, and the Federal Equal Pay Law. (1966) As things change... The Citizens - Go, Goldwater (1964) Billy May and His Orchestra - Marrakesh Express (1970) From LP #10 in the Reader's Digest 1969/70 album, "Up, Up & Away" Brady Kids - Candy (Sugar Shoppe) (1972) "Come on, Sugardrop, and give me some." Or "Come on, Sugar. Drop and give me some..." ? Does anyone care? Why am I doing this?  Internal Recording - Nobody Can Do It Like McDonalds Can (1979) In many styles. One sounds like a direct rip-off of Maxine Nightingale's "Right Back Where We Started From". Movie Trailer - Brother Theodore - "Superstition" (1985) From Phil Rosenthal's (Everybody Loves Raymond) autobiography: Bobby Darin - Bullfrog (1969) From the album Born Walden Robert Cassotto. Burgess Meredith (as The Penguin) - The Escape (1966) How to Undress in Front of Your Husband (1937)  From IMDB: Elaine Jacobs was a 16-year-old high school student in New York in 1931 when she went to see the John Barrymore film Svengali (1931). From that moment, she later said, she fell in love with Barrymore and vowed that one day she would marry him, even going so far as to change her name to Elaine Barrie. A few years later she read in the newspaper that Barrymore was in a New York hospital due to an "illness" (he was actually undergoing one of his periodic "cures" for his severe alcoholism). She sent him an adoring fan letter asking for an interview, and Barrymore wrote back and granted her one. After that first interview she returned to see him every day for more "interviews", and when Barrymore was finally discharged from the hospital he moved into the Jacobs' family apartment in New York City. Barrymore's divorce from actress Dolores Costello was still not final, and Elaine was 30 years younger than Barrymore, and when the press discovered the situation, they had a field day. Barrymore took Elaine and her mother out to nightclubs, parties and theaters all over the city, with reporters and photographers in hot pursuit. The coverage of the pair was so extensive that in 1935 the Associated Press named Elaine (along with presidential candidate Alf Landon) as one of the people who made that year most interesting.Barrie and Barrymore were finally married in 1936, and it turned out to be a stormy one. She appeared in one of his films and made two shorts (one of which, How to Undress in Front of Your Husband (1937), was made by low-rent exploitation legend Dwain Esper) capitalizing on her status as Barrymore's wife. She also co-starred with him on Broadway and in several radio dramas. However, Barrymore's heavy drinking and serial infidelity resulted in several trial separations, and they finally divorced in 1940. Clint Eastwood - I Talk To The Trees (1969) Coca-Cola of Germany - Wir Bleiben Am Ball (?)  Filmstrip Soundtrack - Breakfast on Mars (?) Donny Osmond - Ronny Be Good (1981) ? - Donna (?) From the musical Hair. I guess? Hartz - How To Teach Your Parakeet To Talk (1960) Ed Ames - Hello Lyndon (1964)  Anti-KKK, Anti-Goldwater - Alabama Political Ad (1964) Nixon Now (1972) The 1972 "Nixon Now" advertisement is memorable for its uncharacteristic nature. Not many would associate Nixon, a firm Cold Warrior who excelled at fierce anti-liberal attack ads, with a spot that scrolls from stills of young people frolicking in the sun to clips of a smiling Nixon shaking hands with constituents. All the while, a festive song hails Nixon for "reaching out to find a way to make tomorrow a brighter day, making dreams reality. More than ever - Nixon now for you and me." Oscar Brand - Why Not The Best? (1976) or (1999) Herman Silvers & Cornell Tanassy - Hello Ronnie, Goodbye Jimmy (1980) Wayne Newton - Hard To Handle (1994) Lou Rawls - The Girl From Ipanema (1966) Awesome.  L Ron Hubbard - Thank You For Listening (1986) Rolling Stones - Fingerprint File (1974) Connie Francis - Nixon's The One (1968)  Barry's The Man For Us (1964) Sammy Davis Jr. - She is Today (1970) Johnny Cash - Houston Hash (1969) Sunny Side Rice (1969) For more, please visit Zero to 180. 

60's music icon #MichellePhillips chats about her days with #TheMamasandthePapas, her career and the new #music #docuseries #LaurelCanyon.#CassElliot #JohnPhillips #CaliforniaDreamin #60sMusicscene #acting #StarTrekTNG

360. Monday, Monday - The Mamas and The PapasRelated links for 360. Monday, Monday - The Mamas and The Papas: Reply to this episode on ykyz: https://ykyz.com/p/3d37d630641b3021ff81756ff4f3f4cfac435f6d Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

Each Monday, we feature our "Name That Tune" contest, wherein we play three songs by a particular band or artist, or within a specific genre. Today's contest features three songs by the MAMAS and the PAPAS. Join in and play along with Arrogant Al, "Hicksville Harry", and "Paranoid Pete", to test your musical memory and enjoy!

Founding members of The Mamas and Papas, Denny Doherty and John Phillips, explain how their rather unusual group name originated. Find more interviews at http://danmarkuswaxmuseum.com, and like our Facebook page.

312. California Dreamin’ - The Mamas and The PapasRelated links for 312. California Dreamin’ - The Mamas and The Papas: Reply to this episode on ykyz: https://ykyz.com/p/df0f133a4bd70df1da64be9179d74966a8f87324 Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

Elbow are one of those bands who hold a place in your heart. Maybe it's the timbre of Guy Garvey's voice or the stomping emotion they bring to their music. They've long been visitors to Australia and in 2011 made the trek to play Splendour in the Grass. When Guy Garvey and Pete Turner from the band did the Take 5 they'd just been nominated for the Mercury Music Prize for the third time and had a solid history behind them already. They shared their songs of nostalgia. Japan - ‘Ghosts' Public Enemy - ‘Fight the Power' Blondie - ‘Rapture' The Mamas and the Papas - ‘Monday, Monday' Primal Scream - ‘Come Together'

Elbow are one of those bands who hold a place in your heart. Maybe it’s the timbre of Guy Garvey’s voice or the stomping emotion they bring to their music. They’ve long been visitors to Australia and in 2011 made the trek to play Splendour in the Grass. When Guy Garvey and Pete Turner from the band did the Take 5 they’d just been nominated for the Mercury Music Prize for the third time and had a solid history behind them already. They shared their songs of nostalgia. Japan - ‘Ghosts’ Public Enemy - ‘Fight the Power’ Blondie - ‘Rapture’ The Mamas and the Papas - ‘Monday, Monday’ Primal Scream - ‘Come Together’

Elbow are one of those bands who hold a place in your heart. Maybe it’s the timbre of Guy Garvey’s voice or the stomping emotion they bring to their music. They’ve long been visitors to Australia and in 2011 made the trek to play Splendour in the Grass. When Guy Garvey and Pete Turner from the band did the Take 5 they’d just been nominated for the Mercury Music Prize for the third time and had a solid history behind them already. They shared their songs of nostalgia. Japan - ‘Ghosts’ Public Enemy - ‘Fight the Power’ Blondie - ‘Rapture’ The Mamas and the Papas - ‘Monday, Monday’ Primal Scream - ‘Come Together’

info@podcastone.com4c781152-2fb3-41c1-9771-4f1346a8fe8bMon, 02 Sep 2019 22:00:00 PDTBob Stroud

O quarteto The Mamas And The Papas cantava um rock/folk super gostosinho de ouvir. Mas a música que entrava melodiosa no ouvido escondia uma relação nada harmoniosa de sexo, drogas e outros abusos um pouco mais pesados. Para baixar o programa, clique aqui. Acompanhe o Baú Musical no Facebook clicando aqui. Se quiser seguir nossas … Continue lendo "BM #115 – The Mamas And The Papas"

John Phillips, Cass Elliot, Denny Doherty y Michelle Phillips formaron la banda después de que fracasaran sus anteriores grupos de música folk. Su primer éxito en España fue Monday Monday, primer número uno de la historia de Los 40 Principales el 18 de julio de 1966,1? aunque el lado B del disco, la canción California Dreamin', fue la que ha perdurado en el tiempo y la que más identifica al grupo.

John Phillips, Cass Elliot, Denny Doherty y Michelle Phillips formaron la banda después de que fracasaran sus anteriores grupos de música folk. Su primer éxito en España fue Monday Monday, primer número uno de la historia de Los 40 Principales el 18 de julio de 1966,1? aunque el lado B del disco, la canción California Dreamin', fue la que ha perdurado en el tiempo y la que más identifica al grupo.

In this week's episode Riff Monkeys are getting very excited that summer is fast approaching and they play some of their favourite summer tunes. Tracks from Finley Quaye, Faithless, Will Smith, Ice Cube, Marlena Shaw, Just Jack,The Dub Pistols, Morecheeba and the Mamas and the Papas. Twat of the Week is very well earned by Katie Price

The gang find out just how tough marriage can be as they are paired together in a marriage class taught by Mr. Belding. Clint and Noah break down this rather unusual episode of Saved By the Bell.

If You Can Believe Your Eyes and Ears, by the Mamas and the Papas Brian hosted this Album. Monday Monday California Dreamin' Hey Girl Go Where You Want to Go Got a Feelin' ENTERTAINMENT TRACK: Theme from Flipper. STAFF PICKS: "Five o'clock World" The Vogues Wayne's pick. “Groovy Kind of Love” - Wayne Fontana & the MindBenders Rob's Pick. "Shapes of Things" - The Yardbirds Bruce's Pick. “19th Nervous Breakdown” - Rolling Stones Brian's pick. LAUGH TRACK: Spanish Flea - Herb Albert and the Tijuana Brass

Un verdadero y auténtico clásico de la música: "California Dreaming"... ¿Sabes el nombre de sus integrantes?

Un verdadero y auténtico clásico de la música: "California Dreaming"... ¿Sabes el nombre de sus integrantes?

Having parents and being parents is not always easy. Performers at this December 2015 show told stories about both. Featuring: Ben Whiting, Jonelle Bowers, Donna Stein-Harris, Betsy Emdin, Elon Cameron, Matt Soderquist, Jenifer Strauss

Traducción: Del grupo "The Mamas And The Papas"...

Traducción: Del grupo "The Mamas And The Papas"...

Tema de Mama Cass, vocalista también de Mamas And The Papas.Un maravilloso tema de la Bóveda de Universal.

Tema de Mama Cass, vocalista también de Mamas And The Papas.Un maravilloso tema de la Bóveda de Universal.

Noticias de Radio Chapinero. ariasytroller.com 2015.

We're off on vacation this week, but not to worry, we'll be back next week with a brand-new episode! In the meantime, enjoy this classic episode, with music from Fleetwood Mac, John Hartford and Friends, Miles Davis, Quincy Jones and Bill Cosby, Janelle Monae (featuring Esparanza Spaulding), The Who, Mario Rivera, Brian Hyland, The Mamas and the Papas, and Camille Saint-Saens.SUBSCRIBE: iTunes TWITTER: @MusicFirstPcastFACEBOOK: Music First PodcastEMAIL: MusicFirstPodcast@gmail.com

An opening mix identifying today's holiday leads us through various little tributes to 60's artists and the climate of Civil Defense promotion that accompanied them. The H-Bomb lurks as the BBC goes to the Moon in 1965, accompanied by Leslie Gore, The Mamas And The Papas, Leon Russell, and no Bob but people doing Bob. 3 Hours. The post Over the Edge – Universe pt 58 What About 60s pt V-2 appeared first on KPFA.

Janet Varney (@janetvarney, The Legend of Korra, The JV Club, SF Sketchfest) and April Richardson watch the episode of Saved by the Bell where the gang is paired up and then fake married for a week for a (really weird and highly ethically questionable) school project.

Janet Varney (@janetvarney, The JV Club) and April Richardson watch the episode of Saved by the Bell where the crew is paired up and fake married for a week for a (super weird and very ethically questionable) school project.

Janet Varney (@janetvarney, The JV Club) and April Richardson watch the episode of Saved by the Bell where the crew is paired up and fake married for a week for a (super weird and very ethically questionable) school project.

By Brother Cinaedus #Pride48, #MusicMemories

Due to technical difficulties Chynna couldn't call in. We are rescheduling her and will let her fans know via our website: www.take2radio.com and on twitter @take2radio   Thank you for your understanding.    Wife, mom, singer, songwriter, actress, and philanthropist Chynna Phillips was born to musicians John and Michelle Phillips of famed 60's group The Mamas and The Papas. Chynna began her acting career in John Hughes' teen-sensation Some Kind of Wonderful. She followed up with roles in Caddyshack II, Say Anything, and also played the character Roxanne Pulitzer in the 1989 TV biopic Roxanne: The Prize Pulitzer. During this time, Chynna, along with childhood friends Carnie & Wendy Wilson, formed the trio Wilson Phillips. In 1990, the group released their self-titled debut album which went on to sell ten million copies worldwide, went multi-platinum, and had three number one singles. In 1992, Billboard declared them the best selling female group of all time, breaking the record previously held by Motown's The Supremes. Wilson Phillips was nominated for 5 Grammy Awards, an American Music Award, and won a Billboard Music Award (for songs "Hold On" and "Release Me", which were also written by Phillips). She drops by to chat on Tuesday, January 22, at 7pm EST, to discuss her latest project & tour. 

   Originally from Saginaw, Michigan, vocalist Laurie Beebe Lewis (Laurie Seaman) has had a wonderful musical career & collaborated with many popular 60s groups. Laurie, with sister Jinny Seaman on bass and their band Pitche Blende, frequently toured with Bob Seger, Alice Cooper and Ted Neugent in the early 1970's. Laurie became a member of “The Buckinghams” in 1983 and they released an album entitled "A Matter of Time." She also recorded an album in 1997 with Gary Puckett entitled "Is This Love."  Laurie joined “The Mamas and the Papas” in 1986 and toured with them both nationally and internationally as a replacement for her friend actress/singer, McKenzie Phillips. Later on, Spanky McFarlane reformed “Spanky and Our Gang” and featured Laurie as part of the gang along with some of the original members from the ‘60’s. Presently, Laurie writes and records in her studio with husband Chuck Lewis, and performs with her band “Queen Divas of the Universe” featuring Roni Lee & Shaaron Schuemaker. Their 2012 Rock Christmas CD “All Wrapped Up In Christmas”, produced and arranged by Laurie, is available on iTunes and various other music sites.

This month, The Freaks decided to FINALLY cover the eagerly awaited "We'll Always Have Paris!" after three months of putting it off. In this bizarre episode, we find out that, in his younger days, Picard was a groupie for the Mamas And The Papas and that three Datas are better than one! Then it's on to... "CONSPIRACY"! This one will BLOW YOUR MIND! Actually, it will blow your face off first, THEN make your head explode leaving a smoking, hollowed-out trunk with a partial spinal cord hanging out. So, toast up a big bucket of mealworms and settle in for the long haul! DON'T MISS IT!!Feedback for this show can be sent to: startrek@twotruefreaks.comTwo True Freaks! is a proud member of BOTH the Comics Podcast Network (http://www.comicspodcasts.com/) and the League of Comic Book Podcasts (http://www.comicbooknoise.com/league/)!! Follow the fun on Facebook at https://www.facebook.com/groups/113051642052970/ THANK YOU for listening to Two True Freaks!!

This month, The Freaks decided to FINALLY cover the eagerly awaited "We'll Always Have Paris!" after three months of putting it off. In this bizarre episode, we find out that, in his younger days, Picard was a groupie for the Mamas And The Papas and that three Datas are better than one! Then it's on to... "CONSPIRACY"! This one will BLOW YOUR MIND! Actually, it will blow your face off first, THEN make your head explode leaving a smoking, hollowed-out trunk with a partial spinal cord hanging out. So, toast up a big bucket of mealworms and settle in for the long haul! DON'T MISS IT!!Feedback for this show can be sent to: startrek@twotruefreaks.comTwo True Freaks! is a proud member of BOTH the Comics Podcast Network (http://www.comicspodcasts.com/) and the League of Comic Book Podcasts (http://www.comicbooknoise.com/league/)!! Follow the fun on Facebook at https://www.facebook.com/groups/113051642052970/ THANK YOU for listening to Two True Freaks!!

This month, The Freaks decided to FINALLY cover the eagerly awaited "We'll Always Have Paris!" after three months of putting it off. In this bizarre episode, we find out that, in his younger days, Picard was a groupie for the Mamas And The Papas and that three Datas are better than one! Then it's on to... "CONSPIRACY"! This one will BLOW YOUR MIND! Actually, it will blow your face off first, THEN make your head explode leaving a smoking, hollowed-out trunk with a partial spinal cord hanging out. So, toast up a big bucket of mealworms and settle in for the long haul! DON'T MISS IT!!Feedback for this show can be sent to: startrek@twotruefreaks.comTwo True Freaks! is a proud member of BOTH the Comics Podcast Network (http://www.comicspodcasts.com/) and the League of Comic Book Podcasts (http://www.comicbooknoise.com/league/)!! Follow the fun on Facebook at https://www.facebook.com/groups/113051642052970/ THANK YOU for listening to Two True Freaks!!

This month, The Freaks decided to FINALLY cover the eagerly awaited "We'll Always Have Paris!" after three months of putting it off. In this bizarre episode, we find out that, in his younger days, Picard was a groupie for the Mamas And The Papas and that three Datas are better than one! Then it's on to... "CONSPIRACY"! This one will BLOW YOUR MIND! Actually, it will blow your face off first, THEN make your head explode leaving a smoking, hollowed-out trunk with a partial spinal cord hanging out. So, toast up a big bucket of mealworms and settle in for the long haul! DON'T MISS IT!!Feedback for this show can be sent to: startrek@twotruefreaks.comTwo True Freaks! is a proud member of BOTH the Comics Podcast Network (http://www.comicspodcasts.com/) and the League of Comic Book Podcasts (http://www.comicbooknoise.com/league/)!! Follow the fun on Facebook at https://www.facebook.com/groups/113051642052970/ THANK YOU for listening to Two True Freaks!!