Podcasts about Marty Balin

National croissant day. Entertainment from 1981. 1st fight on floor of US House of Reprsentivies, 1st assasination attempt on a US President, Bloody Sunday in Northern Ireland. Todays birthdays - Franklin Roosevelt, Gene Hackman, Vanessa Redgrave, Marty Balin, Charles S. Dutton, Phil Collins, Jody Watley, Christian Bale, Wilmer Valderrama. Mahatma Gandhi died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/Croissant song - Zander BertLose Yourself - Eminem19 Somethin - Mark WillsSunday Bloody Sunday - U2Birthdays - In da club - 50 Cent      http://50cent.com/Miricles - Jefferson AirplaneIn the air tonight - Phil CollinsLooking for a new love - Jody WatleyThat 70's show TV themeExit - Its not love - Dokken      http://dokken.net/

Tal día como hoy nacieron Steve Marriott (1947), Mark Eitzel (1959), Marty Balin (1942-2018) de Jefferson Airplane/Starship, Josh Kelley (1980) o Jody Watley (1959) de Shalamar. Y mañana será el cumpleaños de Phil Manzanera (1951), guitarrista de Roxy Music, productor de nuestros Antonio Vega o Héroes del Silencio. Y más canciones del momento de Daughter, Daffo, Nada Surf, Steve Forbert, Alberto Ballesteros o The Delfines. CLO PROMO MILEMARKER DISCO 1 PHIL MANZANERA Guantanamera ( ) DISCO 2 SMALL FACES What’ Cha Gonna Do About It) (6) DISCO 3 DAUGHTER Party (Middle Farm Session) (ESCA) CLO LUCAS EXPLORANDO + SEP MARTÍN X (TWITTER) DISCO 4 NADA SURF X Is You (9) DISCO 5 DAFFO Winter Hat (ESCA) DISCO 6 MARK EITZEL No Easy Way Down (1)   CUÑA BUSCAS SAMUSTINA+ INDI PODCAST LUCAS DISCO 7 YASMIN WILLIAMS & Allison De Groot & Tatiana Hardgreaves Hummingbird (LAURA MARLING - 16) DISCO 8 STEVE FORBERT Clouds Rolls Past The Sky (1) DISCO 9 ALBERTO BALLESTEROS Hacemos lo que podemos (ESCA) DISCO 10 The DELINES The Hunting Thoughts (ESCA) Mr. Luck & Ms.Doom PRES. LÍA ALCANDA  DISCO 11 JOSH KELLEY Amazing (1) DISCO 12 JEFFERSON STARSHIP (MARTY BALIN) Count On Me (ESCA) DISCO 13 MARK EITZEL No Easy Way Down (1)Escuchar audio

S4-Ep. 4 Jefferson Airplane-Surrealistic Pillow (RCA) Released Feb 1, 1967, and Recorded between October 31-Nov 22, 1966  Surrealistic Pillow (1967) is a defining album of the 1960s psychedelic rock era, marking the debut of Grace Slick as Jefferson Airplane's lead vocalist. The album blends folk, rock, and experimental sounds, with standout tracks like “Somebody to Love” and “White Rabbit,” which became anthems of the counterculture. With contributions from multiple band members, the album offers diverse vocals and songwriting styles, including Grace Slick's powerful delivery, Marty Balin's emotive ballads, and Paul Kantner's folk-rock influences. The album's success helped propel the band into mainstream recognition, while its psychedelic experimentation captured the spirit of the San Francisco scene. Produced with help from Grateful Dead's Jerry Garcia, Surrealistic Pillow is considered a genre masterpiece, with its influence still felt today. The cover art further symbolized the album's surreal, rebellious vibe, marking a cultural milestone in rock history. Signature Tracks "Somebody to Love," "Today,"  "White Rabbit" Playlist YouTube Playlist, Spotify Playlist  Full Album Full Album on YouTube Full Album on Spotify

Send us a textJoin me as I unravel the tangled history of the infamous Altamont concert, where a lineup featuring Santana, Jefferson Airplane, the Flying Burrito Brothers, and the Rolling Stones played against a backdrop of pandemonium. We relive the shocking moment when Jefferson Airplane's Marty Balin was knocked out, and the surprising calm provided by the Flying Burrito Brothers amid the chaos. These moments beg for reflection on how such events shaped music history and offer lessons in event planning gone awry.We look back at The Who Concert Tragedy in December 1979, when 11 people lost their lives trying to enter an arena.We'll also reminisce about an electrifying U2 concert in 1984, where Bono's memorable intervention during a security scuffle added to the night's unforgettable magic. As we celebrate the 35th anniversary of Lou Reed's "New York," there's much to reflect on. This episode is a rich tapestry of music history and cultural shifts, inviting you to keep the rhythms of the past alive in today's world.

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Regresamos al club The Matrix, pequeño local situado en el 3138 de Fillmore Street, en San Francisco. Un club abierto en 1965 por Marty Balin, cantante y líder de The Jefferson Airplane, grupo que dio su primer concierto en la noche de inauguración. Dos años y medio después, el 1 de febrero de 1968, y convertidos ya en una de las bandas más icónicas y exitosas de la contracultura, Jefferson Airplane regresaron a ese pequeño escenario para ofrecer una íntima actuación ante unos pocos elegidos.(Foto del podcast por Paul Kantner; Jefferson Airplane en 1968)Playlist;JEFFERSON AIRPLANE “Somebody to love”JEFFERSON AIRPLANE “Young girl Sunday blues”JEFFERSON AIRPLANE “She has funny cars”JEFFERSON AIRPLANE “Two heads”JEFFERSON AIRPLANE “Martha”JEFFERSON AIRPLANE “Kansas City”JEFFERSON AIRPLANE “The other side of life”JEFFERSON AIRPLANE “Today”JEFFERSON AIRPLANE “It’s no secret”JEFFERSON AIRPLANE “Blues from an airplane”JEFFERSON AIRPLANE “Plastic fantastic lover”JEFFERSON AIRPLANE “White rabbit”JEFFERSON AIRPLANE “Share a Little joke”Escuchar audio

Send us a Text Message.Mickey Thomas is a powerhouse vocalist whose distinctive voice became the driving force behind the success of Starship, one of the most iconic rock bands of the 1980s. Born in Cairo, Georgia, Thomas first gained national recognition as the lead vocalist on the 1976 hit “Fooled Around and Fell in Love” with The Elvin Bishop Band. This breakthrough performance showcased his soulful, soaring voice, setting the stage for his future career.In 1979, Thomas joined Jefferson Starship as the lead singer, following the departure of Grace Slick and Marty Balin. His arrival marked a new era for the band, which had been a significant force in the 1970s rock scene. With Thomas at the helm, Jefferson Starship produced several hits, including "Jane," "No Way Out," "Find Your Way Back," "Stranger," and "Layin' It on the Line." His dynamic vocal range and powerful performances breathed new life into the band, helping them maintain their relevance during a time of significant transition in the music industry.In 1985, the band rebranded as Starship, marking a new chapter in its storied history. Under this new name, they achieved immense commercial success, with Thomas's voice leading the charge on a string of chart-topping hits. "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now" became anthems of the era, dominating the airwaves and solidifying Starship's place in rock history. These songs, characterized by their catchy hooks and polished production, became staples on MTV and VH1, further cementing Thomas's reputation as one of rock's most recognizable voices.Today, Mickey Thomas continues to tour with Starship, performing both the classic hits of Starship and Jefferson Starship, along with a few nods to Jefferson Airplane's legacy. His enduring talent and passion for music have kept Starship's legacy alive for new generations of fans.http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn

Ubicado en el 3138 de Fillmore Street, en el barrio bohemio de San Francisco, The Matrix fue un pequeño club para apenas 100 personas, con mesitas bajas en las que podías tomarte un cóctel mientras escuchabas bandas en directo. Lo puso en funcionamiento Marty Balin, cantante y líder de Jefferson Airplane, en agosto de 1965 y rápidamente se convirtió en uno de los enclaves más importantes de la ciudad, para acabar siendo reconocido como el lugar desde el que emergió el sonido de San Francisco. El club contaba con una mesa de grabación de cuatro pistas con la que registraron algunos de los conciertos que pasaron por el local. Hoy escuchamos grabaciones en directo de The Great Society en 1966, la banda desde la que emergió la icónica cantante Grace Slick. Y también una actuación de Big Brother and the Holding Company en enero de 1967, con Janis Joplin a la voz antes de que grabaran su primer álbum.Playlist;THE GREAT SOCIETY “Sally go ‘round the roses”THE GREAT SOCIETY “Somebody to love”THE GREAT SOCIETY “Darkly smiling”THE GREAT SOCIETY “Nature boy”THE GREAT SOCIETY “Often as I may”THE GREAT SOCIETY “Father Bruce”THE GREAT SOCIETY “White rabbit”BIG BROTHER and THE HOLDING COMPANY “Bye bye baby”BIG BROTHER and THE HOLDING COMPANY “Turtle blues”BIG BROTHER and THE HOLDING COMPANY “Hi heel sneakers”BIG BROTHER and THE HOLDING COMPANY “It’s a deal”BIG BROTHER and THE HOLDING COMPANY “Caterpillar”Escuchar audio

On the July 6 edition of Music History Today, John meets Paul, disco hits number one, and Manfred Mann gets a lead singer. Also, happy birthday to 50 Cent and Bill Haley. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠  On this date: In 1953, singer Dorothy Squires married actor Roger Moore.In 1957, John Lennon met Paul McCartney and one of the greatest musical partnerships was born. In 1963, Chubby Checker performed at a concert before the Mets baseball game in New York City. In 1964, the film A Hard Day's Night by the Beatles premiered in London. In 1965, Marty Balin started forming the group Jefferson Airplane. In 1966, Elvis Presley's movie Paradise Hawaiian Style opened. In 1966, Mike D'abo became the lead singer for Manfred Mann. In 1967, Pink Floyd performed on British TV's Top of the Pops music show for the first time. In 1969, Mick Jagger started filming the movie Ned Kelly. In 1971, Bjorn Ulvaeus & Agnetha Faitskog of ABBA were married. In 1972, David Bowie created controversy in England when he put his arms around guitarist Mick Ronson during his performance of his song Starman on the British TV show Top of the Pops. In 1974, the Hues Corporation became the first disco group to hit number one on the Billboard singles chart with Rock the Boat. In 1977, the event that inspired Pink Floyd's album The Wall happened when Roger Waters yelled at the crowd during Pink Floyd's concert in Montreal for setting off fireworks & being unruly. In 1978, Tammy Wynette married record producer George Richey. In 1984, the Jacksons started their Victory tour, which was the last time that Michael toured with his brothers. In 1988, Neil Young's video for his song This Note's For You, about music artists selling their songs to corporations for commercials, was banned by MTV because it mentioned corporate brands like Coke & Pepsi. The video ended up winning video of the year at that year's MTV Video Music Awards. In 1990, the animated movie Jetsons the Movie, co-starring the voice of singer Tiffany premiered. In 1991, BB King & James Brown performed in Zagreb, Croatia. In 1991, Mary Travers of Peter, Paul, & Mary married restaurant owner Ethan Robbins. In 1994, the movie Forest Gump opened. The movie spawned a hit soundtrack of songs from the 1950s - 1970s. In 1999, Richie Havens published the book They Can't Hide Us Anymore, which was his autobiography. In 2009, Ryan Ross & Jon Walker left the group Panic! at the Disco. In 2009, Alanis Morissette started her acting role on the TV show Weeds. In 2016, singer Ciara married football player Russell Wilson. In 2019, Lil Nas X's song Old Town Road with Billy Ray Cyrus broke the record set by 3 other songs for longest hip hop song at #1 when it started its 13th straight week at #1 on Billboard's hot 100 singles chart. The song would eventually break the record for longest #1 reign on that chart, regardless of genre, & still holds the record at 19 consecutive weeks. In classical music: In 1877, Pyotr Tchaikovsky married wife Antonina Miliukova. In 1975, Dmitri Shostakovich finished his Sonate for Alto Opus 147. In theater:  In 1946, the Broadway show St Louis Woman closed. In 1997, the Broadway musical Dream, the Johnny Mercer Musical closed. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

For the inaugural episode of Windy City Ballyhoo, pop culture writers Rachel McPadden and Heather Drain come on the podcast to talk about the rockin' Roling Stones double of Gimme Shelter (1970) and Sympathy For the Devil (1968), which played at the Wilmette Theatre on September 15, 1972.This episode includes copious amounts of Charlie Watts love, roaming hippie hoards, Marty Balin's risque “Hearts” video, minor Jean-Luc Godard bashing, Rock 'n' Roll McDonald's, respect for Stacy Keach, and more Chicago history than you'll know what to do with.

National croissant day. Entertainment from 1981. 1st fight on floor of US House of Reprsentivies, 1st assasination attempt on a US President, Bloody Sunday in Northern Ireland. Todays birthdays - Franklin Roosevelt, Gene Hackman, Vanessa Redgrave, Marty Balin, Charles S. Dutton, Phil Collins, Jody Watley, Christian Bale, Wilmer Valderrama. Mahatma Gandhi died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Croissant song - Zander Bert(just like) Starting over - John Lennon9 to 5 - Dolly PartonSunday Bloody Sunday - U2Birthdays - In da club - 50 Cent http://50cent.com/Miricles - Jefferson AirplaneIn the air tonight - Phil CollinsLooking for a new love - Jody WatleyThat 70's show TV themeExit - Its not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/

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

Beave and Len walk through the band originally known as Jefferson Airplane, and trace it through its evolution to Jefferson Starship and then eventually Starship. Are they an underrated band? Was Grace Slick in fact the most badass rock star of them all? What are their best songs? Is Starship even worthy of discussion? What is their all-time best album? Did you know they also did a rooftop concert in New York? Why was Grace Slick ultimately thrown out of the band? All these questions get answered and more! Put a little Jagabsg in your ear.

News of the day, Happy Birthday to Marty Balin, 2-time World Series champ believes Damar Hamlin died or is ‘in bad shape' and NFL is covering it up”, Bobby Hull and Charles White and Lisa Lorring have passed on.. and more of your calls....

Kerry Kearney Psyche-Delta Blues Slide Guitar & How to be a Guitar Master - Part 2 Join host, Steve Yusko & Kerry Kearney. Join the conversation as we hear Kerry play live and recount his journey in the music industry. We continue the conversation and explore Kerry's vast links to accomplished artists in his band, and his upcoming 25th Anniversary Concert at The Long Island Music and Entertainment Hall of Fame. We explore Kerry's vast musical career and his encounters with Marty Balin, one of the lead singers for Jefferson Airplane/Jefferson Starship. Call the Listener Line (631) 800-3579 and leave your comments for our host and guest. Kerry Kearney's style, music from the album “Psychedelta”, is his own brand containing an upbeat mix of American Blues & Roots, created from writing and performing on the circuit for over 40 years. Along with his band, he has continued to experience an overwhelming and positive response over the airwaves and especially when performing live. His wailing upbeat style of blues, driven by tasty, inspired guitar riffs, electrifying slide and infectious rhythms, has allowed Kerry to amass a huge loyal following. Connect with The Long Island Sound Podcast Intro/Outro song in this episode: “Fading out Fast” from Mike Nugent's album, Mike Nugent and the Blue Moon Band . Opening Narration by Faith Yusko *All songs in this podcast episode have been used with prior permission by the artists. Please Subscribe Here: Https://linktr.ee/thelongislandsoundpodcast Kerry Kearney (pronounced "Car-Nee"), a slide guitar master, plays and works his instrument to limits that amaze even the most seasoned musician or cultured music fan. The sounds Kerry creates from his vintage, stock and custom made guitars are as unique as his song writing and original melodies. Kerry was voted "Best Guitarist of 1999" by the LI Voice and “Bluesman of the Year 2004” by the LI Blues Society. He is also the recipient of the prestigious Long Island Sound Award (L.I.S.A.) from the LI Music Hall of Fame and most recently, in 2013, he and his band mates were each inducted into the New York Blues Hall of Fame. He has toured nationally and internationally with the Allman Brothers Band and Dickey Betts, and has performed with such contemporaries as Sonny Landreth and Robert Randolf. Kerry and his band have shared the stage with the great BB King at the NYCB Westbury Theater and at the Paramount Theater in Huntington, NY, as well as Robert Cray with the Blind Boys of Alabama and The Blues Brothers starring Dan Aykroyd and Jim Belushi. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thelongislandsoundpodcast/message

Kerry Kearney Psyche-Delta Blues Slide Guitar & How to be a Guitar Master - Part 1 Join host, Steve Yusko & Kerry Kearney. Join the conversation as we hear Kerry play live and recount his journey in the music industry. We explore Kerry's vast musical career and his encounters with Marty Balin, one of the lead singers for Jefferson Airplane/Jefferson Starship. Call the Listener Line (631) 800-3579 and leave your comments for our host and guest. Kerry Kearney's style, music from the album “Psychedelta”, is his own brand containing an upbeat mix of American Blues & Roots, created from writing and performing on the circuit for over 40 years. Along with his band, he has continued to experience an overwhelming and positive response over the airwaves and especially when performing live. His wailing upbeat style of blues, driven by tasty, inspired guitar riffs, electrifying slide and infectious rhythms, has allowed Kerry to amass a huge loyal following. Connect with The Long Island Sound Podcast Intro/Outro song in this episode: “Fading out Fast” from Mike Nugent's album, Mike Nugent and the Blue Moon Band . Opening Narration by Faith Yusko *All songs in this podcast episode have been used with prior permission by the artists. Please Subscribe Here: Https://linktr.ee/thelongislandsoundpodcast Kerry Kearney (pronounced "Car-Nee"), a slide guitar master, plays and works his instrument to limits that amaze even the most seasoned musician or cultured music fan. The sounds Kerry creates from his vintage, stock and custom made guitars are as unique as his song writing and original melodies. Kerry was voted "Best Guitarist of 1999" by the LI Voice and “Bluesman of the Year 2004” by the LI Blues Society. He is also the recipient of the prestigious Long Island Sound Award (L.I.S.A.) from the LI Music Hall of Fame and most recently, in 2013, he and his band mates were each inducted into the New York Blues Hall of Fame. He has toured nationally and internationally with the Allman Brothers Band and Dickey Betts, and has performed with such contemporaries as Sonny Landreth and Robert Randolf. Kerry and his band have shared the stage with the great BB King at the NYCB Westbury Theater and at the Paramount Theater in Huntington, NY, as well as Robert Cray with the Blind Boys of Alabama and The Blues Brothers starring Dan Aykroyd and Jim Belushi. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thelongislandsoundpodcast/message

Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. 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/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but  in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.

Marty Balin, John DeCaro, Steve Head, Val Garay, and me.

Recién logró consolidar una carrera solista en la década del ochenta, cuando entró en los rankings de popularidad y logró desprenderse de la sombra de su influyente banda.

Con canciones de Marty Balin, Roger Hodgson, Gavin James, de la pelicucla City Of Stars, Roy Orbison, Opus, the Motels y the Pretenders....

Con canciones de Marty Balin, Roger Hodgson, Gavin James, de la pelicucla City Of Stars, Roy Orbison, Opus, the Motels y the Pretenders....

My second annual end of summer Yacht Rock spotlight show! Artists include Boz Scaggs, Kenny Loggins, Marty Balin, Player, Robbie Dupree and more!

in this episode we listen in on two great Bay Area bands straight from the Summer Of Love from the mid 60's, Jefferson Airplane and The Quicksilver Messenger Service. Jefferson Airplane were the first commercially successful band straight from the Haight & Ashbury District in San Francisco. They remained successful over many decades, enduring many musical styles. The Quicksilver Messenger Service had a great reputation for their live performances. They were the cutting edge of the Bay Area bands.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org) Check out thesze products and services. Get your Vegan Collagen Gummies from Earth & Elle, available thru Amazon at this link.Amazon.com: Earth & Elle Vegan Collagen Gummies - Non-GMO Biotin Gummies, Vitamin A, E, C - Plant Based Collagen Supplements for Healthier Hair, Skin, Nails - 60 Chews of Orange Flavored Gummies, Made in USA : Health & HouseholdKathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookEmma Bonner-Morgan Facebook music pageThe Music Of Emma Bonner-Morgan | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/

A reworking of this classic with strings and oboe. Thank you, Marty Balin for this incredible song which I have enjoyed singing for over fifty years.

This is the third (and final) part of our special trilogy of episodes about the Jefferson Airplane "Family Tree", in which I will cover every principle artist and band involved in the Jefferson Airplane/Jefferson Starship/Starship orbit. Today we will take a look back at the original run of Starship, as well as Mickey Thomas' solo career. I also discuss the later-era solo releases from original Jefferson Airplane vocalist Marty Balin.  Follow us on Twitter at: https://twitter.com/playthatpodcast​​ Find us on facebook at: https://www.facebook.com/playthatpodcast

EPISODE 4 - Welcome back to Living The Next Chapter, the podcast!  We are pleased to introduce you to an author in the making, Tony Saunders!ABOUT TONYTwo-time Emmy Award winning bassist, composer, producer and son of legendary San Francisco Bay Area keyboardist, Merl Saunders, Tony Saunders' life has been infused with one musical adventure after another. As an arranger, producer, composer and performer, Saunders has conquered the worlds of jazz, gospel, R&B, pop, rock and world music. He earned the first of his two Emmys at age 14 for collaborating with his dad on the PBS documentary Soul Is and by 17 was playing with Merl and Jerry Garcia on their collaborative projects. The second was earned for his contribution on the TV show, Digital Journey, on the episode, “China: Their New Digital Economy.” Though he took one of his first musical lessons on piano from Herbie Hancock, the bass he received from John Fogerty's brother Tom – and watching recording sessions with famed bassists Anthony Davis and Lee Miles - sparked a lifelong passion for that instrument that now, 50 years later, has led to his emergence as a major independent force in contemporary jazz. After launching his career with his dad Merl and Jerry Garcia, Saunders embarked on a diverse career that has found him playing and recording with a virtual who's who of popular music and jazz – including Eric Clapton, David Crosby, Dave Liebman, Les McCann, Dr. John, Joe Sample, Chaka Khan, Ringo Star, Bo Diddley, Mavis Staples, John Lee Hooker, The Hawkins Family, Jeff Lorber and Paul Jackson Jr. Over the years, Tony has scored films, corporate videos, TV shows and commercials, and produced many artists out of his own studio, Studio 1281. He's written the music and been musical director for stage musicals, including Rock Justice, which was co-written by Jefferson Starship's Marty Balin.Hear about the upcoming book Behind The Bass Lines due out early this year, Tony Shares some great stories and we talk about February as Black History Month and what that means to him and where are we headed in the future.Visit: https://www.tonysaunders.com/ for more about Tony, his upcoming book and the music

In this episode, we discuss Jefferson Airplane's sophomore effort, 'Surrealistic Pillow,' released February 1, 1967. It's one of the seminal psychedelic rock albums, and a personal favourite of mine...Support the show (https://www.buymeacoffee.com/dr.cropper)

The late great Marty Balin was a guest on the Fake Show a few years ago and please take a listen on what would have been his 80th birthday!

This is the second part of a special trilogy of episodes about the Jefferson Airplane "Family Tree", in which I will cover every principle artist and band involved in the Jefferson Airplane/Jefferson Starship/Starship orbit. Today we will take a look back at the original run of the Jefferson Starship, as well as what they're up to today. I will also cover a handful of solo albums from founding members Paul Kantner, Grace Slick, and Marty Balin. Follow us on Twitter at: https://twitter.com/playthatpodcast​​ Find us on facebook at: https://www.facebook.com/playthatpodcast

Canciones nuevas, las del galés Carwyn Ellis o la tejana Kacey Musgraves junto a rescates del limbo... El otoño de James Taylor, la escapada de Marty Balin con Jefferson Starship... Las canadienses Joni Mitchell y Crissi Cochrane transportándonos al país más cálido de las emociones e imágenes. El tiempo no espera a nadie de los Stones con un Mick Taylor más bien santanero. El crooner más rockero de la Historia es Gino vannelli. La versión de Marcus King y su banda del mejor clásico de la Marshall Tucker Band. DISCO 1 SIDDARTHA KHOSLA William’s Flashback (Number Three)(Instrumental) THIS IS US - 4’12) DISCO 2 JAMES TAYLOR Hello Old Friend 2’48 Walking Man DISCO 3 CRISSI COCHRANE Pretty Words 4’58 Little Sway DISCO 4 THE ROLLING STONES Time Waits for No One 6’25 Suckin’ The Seventees DISCO 5 JONI MITCHELL Come In From The Cold 7’31 Night Ride Home DISCO 6 THE MARCUS KING BAND This Ol' Cowboy 5’57 The Due North Ep DISCO 7 JEFFERSON AIRPLANE Runaway 5’22 Earth DISCO 8 GINO VANNELLI Gypsy Days 7’29 A Good Thing DISCO 9 KACEY MUSGRAVES Good Wife 3’51 Star-Crossed DISCO 10 CARWYN ELLIS & RIO 18 Cariad, Cariad 5’38 (5) Escuchar audio

Jefferson Starship has gone through a lot of changes over the years. First, rising from the ashes of the previous Jefferson Airplane, it was a vehicle for Paul Kantner, Grace Slick and David Freiberg. Over the years, and numerous lineup changes, the band scored many hits, like “Miracles,” “Count on Me,” “Find Your Way Back,” and “Jane,” which was co-written by Freiberg. The band is currently out on the road in support of their brand new album called Mother of the Sun, and from the band, we welcome David Freiberg and vocalist Cathy Richardson.We talk the new album, which features several nods to the past, including a brand new song, "It's About Time," co-written with Slick, and another song written by former vocalist Marty Balin. The album also features a live version of "Embryonic Journey," a song dating all the way back to the Jefferson Airplane days.

This is the first of a special trilogy of episodes about the Jefferson Airplane "Family Tree", in which I will cover every principle artist and band involved in the Jefferson Airplane/Jefferson Starship/Starship orbit. Today we will kick off this retrospective by exploring the original run of the Jefferson Airplane (as well as their late '80s comeback), and also the studio releases from Hot Tuna, which was the offshoot group formed by Airplane members Jack Cassidy and Jorma Kaukonen. We also discuss a handful of solo albums from Airplane members Paul Kantner, Grace Slick, and Marty Balin. Follow us on Twitter at: https://twitter.com/playthatpodcast​​ Find us on facebook at: https://www.facebook.com/playthatpodcast

John William "Jack" Casady (born April 13, 1944) is an American bass guitarist, best known as a member of Jefferson Airplane and Hot Tuna. Jefferson Airplane became the first successful exponent of the San Francisco Sound. Their singles, including "Somebody to Love" and "White Rabbit", had a more polished style than their other material, and successfully charted in 1967 and 1968. Casady, along with the other members of Jefferson Airplane, was inducted into the Rock and Roll Hall of Fame in 1996.In this episode, Jack talks about growing up in Washington, DC. He also talks about the jazz shows he saw as a teenager and building early amps and electronics for his bass with Owsley Stanley. Jack and Jorma are hitting the road post-pandemic so grab your tickets. There are acoustic Hot Tuna dates in the spring/summer and Electric Tuna dates in the fall. Learn more about Lyte.

70 Movies We Saw in the 70s: WOODSTOCK (1970) (part two) Mike Lustig, guitar shaman of legendary rock ensemble Ruth Ruth, joins Mike and Ben for one more hour of Discourse and Digressions in regard to the 3 Days of Peace and Music covered by Michael Wadleigh’s epically far-out documentary, WOODSTOCK. Porta potty in the rain induced insights include: • Joe Cocker and Dr, Steve Bruhl: Separated at the Personal Hygiene Aisle? • Arlo Guthrie and Jakob Dylan: Separated at the Gene Pool? • Crosby Stills & Nash and Neil Young: Separated by the Steenbeck Flatbed? • Jorma Kaukonen's Swastika vs Marty Balin's Heart • John Sebastian's Rolled Up Hippie Pants vs Naked Hippie Kids Peeing on Their Dads • Santana's Shitty Bass Player vs Santana's Awesome Drummer • Sly Stone's Vocals vs Sly Stone's Microphone • Hendrix Conga Player Standees, PortaSans Workers, Janis Joplin's Feet, and Country Joe's Crew Hoodie Plus • What Else Was Playing the Day Woodstock Opened in NYC?

This one-off episode presents a 16-song bracket to determine the greatest rock song of the 1960s. Honorable mentions (in no particular order): The Turtles - "Happy Together" The Moody Blues - "Nights In White Satin" Procol Harum - A Whiter Shade Of Pale Van Morrison - "Brown Eyed Girl" Creedence Clearwater Revival - "Proud Mary" The Kingsmen - "Louie Louie" Steppenwolf - "Born To Be Wild" The Mamas and the Papas - "California Dreamin'" The Monkees - "Daydream Believer" The Rascals - "Good Lovin'" And going more underground: The Stooges - "1969" or "I Wanna Be Your Dog" The Velvet Underground - "Heroin" MC5 - "Kick Out The Jams" Notes for this episode: The first version of "The Sound Of Silence" was in 1964, the more famous version followed in 1966. The Animals' version of "The House Of The Rising Sun" was in 1964, not 1965. The famous Bob Dylan/The Band live performance of "Like A Rolling Stone" with the "Judas!" heckler was 1966 of course not 1965. We failed to mention the single most famous thing about The Who's "My Generation," which of course is Roger Daltrey's stuttered vocals! We also failed to mention how magnificent Carl Wilson's lead vocal is on "God Only Knows." It's probably his greatest vocal performance. Jefferson Airplane was also at Altamont along with The Rolling Stones. In fact Marty Balin got knocked out cold by a Hell's Angel!

The KSHE Tapes is presented by Black Raven AFC. blackravendigital.com

New York City is still home to Val Kinzler aka “Valkyrie” as she’s affectionately known to her friends and fans.Val started playing piano at age five and as her passion for songwriting grew, she picked up the guitar which led her to playing solo gigs around the NYC area and later in Europe.Through out her life, Val has taught music and created special events involving women in music. Her latest CD titled, “Nothing Sacred About Hatred”, is the culmination of years of songwriting. Val shares a lifetime of joy, pain, love, and loss in her lyrics. Inspired by the blues, Val’s theatrical edge has led her to create her own genre of soulful “sophistipunk” .Val remains an integral part of the downtown New York City singer/songwriter music scene as an event promoter and performer. Her spirited presence, unorthadox vocal style, and award winning songs led her to collaborate with other noteworthy talent She’s opened for and/or shared the stage with Dr. John, Marty Balin, Three Dog Night, Johnny Johnson,Jon Paris and others. Val later joined forces with local musicians to create her band “Validation” playing hard edged punk rock originals at local clubs. Songs such as: “Dirty Blonde”, “Keep Your Baby On A Leash”, and “Metal Swing” which quickly became crowd favorites and Val still re-visits these catchy tunes at her solo dates!Val remains involved playing gigs with VKB(Val Kinzler Band) Comprised of veteran musicians, Joseph Vasta (Mink De Ville, Billy Idol, Joan Jett, John Waite), David White (The Hollies, Stumblebunny) and Ihle Factor (Ian Lloyd, John Ford).She continues to work with students in the New York City public school system as a facilitator of her“Music Cool” songwriting program.After losing her youngest brother to a drug overdose, Val traveled to Pittsburgh, PA on a Martin Guitars Scholarship through “Women In Music”.

DEBRA BARSHA won the Jonathan Larson Performing Arts Award for the score to Radiant Baby, (Public Theater) directed by George C. Wolfe. Composer credits: Songs From an Unmade Bed (NYTW), Sophie (JRT), NBC’s Policewoman Centerfold soundtrack, and her two one-woman shows Go to Your and A Womb With a View (CAP21/Cherry Lane Theatre). Barsha originated roles and was the music director for the original Off-Broadway companies of both Tony n’ Tina’s Wedding and Charles Busch’s Swingtime Canteen. She also served as music director for the Steven Sater/Serj Tankian musical Prometheus Bound (ART - dir. Diane Paulus). Her songs have been recorded by: George Clinton, Jackie Mason, Marty Balin, and Rebecca Luker. She conducted Karen O’s psycho opera Stop the Virgens !at St. Ann’s Warehouse and at the Sydney Opera House. Barsha wrote the vocal arrangement for the Yeah Yeah Yeah’s single Sacrilege, and Awolnation’s single I Am. She also arranged the vocals for Orange Is the New Black star Lea DeLaria's David Bowie tribute album, House of David. Her new musical A Taste of Things To Come (book, music and lyrics with Hollye Levin) ran at the Broadway Playhouse (Chicago) and off-Broadway at the York Theatre (dir. Lorin Latarro), and was recently published by Samuel French. Debra was the associate conductor for Broadway’s Tony Award winning musical Jersey Boys. This past year she served as associate conductor for the Broadway show Summer: The Donna Summer Musical. http://www.debrabarsha.com

Did you know that Kerry toured with Marty Balin?  You will hear some great stories from Kerry interviewed by Richard Solomon... and you will hear some great music! (Kerry actually played some live acoustic material in the studios of WCWP where this piece was recorded).

Im sechsten Jahr in Folge gedenkt unser Buddy Marc Hype mit mit seiner Mixtape-Serie "GONE… but not forgotten" den im Vorjahr verstorbenen Musikern. Auch im Jahr 2018 sind zahlreiche Künstler von uns gegangen, an Material für das 2018'er Tribute-Tape mangelte es (leider) nicht. Rest in Peace: France Gall, Hugh Msekela, Dennis Edwards, Leon Ndugu Chanceler, Lovebug Starski, DJ Kuya, Henry Storch, Jerzy Milian, DJ Devastate, Craig Mack, Matt Dike of Delicious Vinyl, Cameron Paul, Alias of Anticon, Chuck Freeze of Jazzy 5, Bob Dorough, Godfather of Boo Yaa Tribe, John Jab’o Starks, Huckey of Texta, Reggie Lucas, Demba Nabé of SEEED, Jalaluddin Nuriddin aka Lightnin' Rod of The LAST POETS, Aretha Franklin, DJ Ready Red of the Geto Boys, Charles Aznavour, Melvin "Wah Wah" Watson, Roy Hargrove, Yvonne Staple of the Staples Singer, Joe Jackson, Matt "Guitar" Murphy, Gary Harris Sugarhill Records, Paul Trouble Anderson, Bobby Davis, Nancy Wilson, Galt McDermot,Cecily Taylor, Coco Schumann, Edwin Hawkins, Ray Thomas, Denise LaSalle, Otis Rush, Marty Balin, Mac Miller, Ed King, Russ Solomon, Burt Reynolds, Verne Troyer, Anthony Bourdain, Winnie Mandela, Stan Lee

Im sechsten Jahr in Folge gedenkt unser Buddy Marc Hype mit mit seiner Mixtape-Serie "GONE… but not forgotten" den im Vorjahr verstorbenen Musikern. Auch im Jahr 2018 sind zahlreiche Künstler von uns gegangen, an Material für das 2018'er Tribute-Tape mangelte es (leider) nicht. Rest in Peace: France Gall, Hugh Msekela, Dennis Edwards, Leon Ndugu Chanceler, Lovebug Starski, DJ Kuya, Henry Storch, Jerzy Milian, DJ Devastate, Craig Mack, Matt Dike of Delicious Vinyl, Cameron Paul, Alias of Anticon, Chuck Freeze of Jazzy 5, Bob Dorough, Godfather of Boo Yaa Tribe, John Jab'o Starks, Huckey of Texta, Reggie Lucas, Demba Nabé of SEEED, Jalaluddin Nuriddin aka Lightnin' Rod of The LAST POETS, Aretha Franklin, DJ Ready Red of the Geto Boys, Charles Aznavour, Melvin "Wah Wah" Watson, Roy Hargrove, Yvonne Staple of the Staples Singer, Joe Jackson, Matt "Guitar" Murphy, Gary Harris Sugarhill Records, Paul Trouble Anderson, Bobby Davis, Nancy Wilson, Galt McDermot,Cecily Taylor, Coco Schumann, Edwin Hawkins, Ray Thomas, Denise LaSalle, Otis Rush, Marty Balin, Mac Miller, Ed King, Russ Solomon, Burt Reynolds, Verne Troyer, Anthony Bourdain, Winnie Mandela, Stan Lee

Im sechsten Jahr in Folge gedenkt unser Buddy Marc Hype mit mit seiner Mixtape-Serie "GONE… but not forgotten" den im Vorjahr verstorbenen Musikern. Auch im Jahr 2018 sind zahlreiche Künstler von uns gegangen, an Material für das 2018'er Tribute-Tape mangelte es (leider) nicht. Rest in Peace: France Gall, Hugh Msekela, Dennis Edwards, Leon Ndugu Chanceler, Lovebug Starski, DJ Kuya, Henry Storch, Jerzy Milian, DJ Devastate, Craig Mack, Matt Dike of Delicious Vinyl, Cameron Paul, Alias of Anticon, Chuck Freeze of Jazzy 5, Bob Dorough, Godfather of Boo Yaa Tribe, John Jab’o Starks, Huckey of Texta, Reggie Lucas, Demba Nabé of SEEED, Jalaluddin Nuriddin aka Lightnin' Rod of The LAST POETS, Aretha Franklin, DJ Ready Red of the Geto Boys, Charles Aznavour, Melvin "Wah Wah" Watson, Roy Hargrove, Yvonne Staple of the Staples Singer, Joe Jackson, Matt "Guitar" Murphy, Gary Harris Sugarhill Records, Paul Trouble Anderson, Bobby Davis, Nancy Wilson, Galt McDermot,Cecily Taylor, Coco Schumann, Edwin Hawkins, Ray Thomas, Denise LaSalle, Otis Rush, Marty Balin, Mac Miller, Ed King, Russ Solomon, Burt Reynolds, Verne Troyer, Anthony Bourdain, Winnie Mandela, Stan Lee

Father Time 2018

Follow us on Twitter: Radio Labyrinth @Radio_Labyrinth, Tim @TimAndrewsHere, Autumn @Autopritts, Steph @Stepholumpagus, Jeff @JeffKeyz We pick up where we left off (Jamie Lee Curtis’ boobs) and finish our Trading Places breakdown and we receive the best Christmas gift ever: A visit (and a game) from Ira Malkin! Plus: Gifts! Our best Christmas memories! Who Died? 2018! The Red Box Troll Christmas medly, Staff Picks & a whole lot more! Thank you to everyone who listens, contributes, supports and enjoys, Radio Labyrinth. Can’t wait for 2019! WHO DIED 2018 Penny Marshall, Jerry Van Dyke, Delores O’Riordan, John Mahoney, Billy Graham, Reg E. Cathey, David Ogden Stiers, Stephen Hawking, R. Lee Ermey, Harry Anderson, Barbara Bush, George H.W. Bush, Verne Troyer, Robert Mandan, Steven Bochco, Bruno Sammartino, Margot Kidder, Tom Wolfe, Anthony Bourdain, Kate Spade, Charlotte Rae, Aretha Franklin, Robin Leach, John McCain, Neil Simon, Burt Reynolds, Bill Daily, Marty Balin, Scott Wilson, Stan Lee, Roy Clark, Katherine MacGregor, Ken Berry, Sondra Locke, Mac Miller, Adrian Cronauer, Tab Hunter, Vinnie Paul!!, Jerry Maren (last surviving Munchkin), Philip Roth, Avicii, Dennis Edwards, Dolores O’Riordan, Craig Mack, Richard “Old man” Harris, XXXtentacion #PennyMarshall #TradingPlaces #JamieLeeCurtis #EddieMurphy #DanAckroyd #Christmas #TheFix #Netflix #WatershipDown #JimmyCarr #SteveHarvey #TheOrville #Fox STAFF PICKS (TIM) Watership Down (Netflix) https://www.netflix.com/title/80107989 Voices of: James McAvoy, Peter Capaldi, Rosamund Pike, John Boyega, Ben Kingsley, Adewale Akinnuoye-Agbaje and more. (TIM) Fox's New Year's Eve with Steve Harvey: Live From Times Square The WORST of the NYE shows: See Steve Harvey wear horrendous clothing, hear his malaprops, get fucked up and laugh. (JEFF) The Fix (Netflix) Panel show hosted by Jimmy Carr where comedians try to solve the world’s problems. https://www.netflix.com/title/80216124 (STEPH) The Orville, Season 2 (Fox) https://www.denofgeek.com/us/tv/the-orville/268696/the-orville-season-2-release-date-cast-trailer-news

From the publisher: From the man who made a name for himself as a founding member and lead guitarist of Jefferson Airplane comes a memoir that offers a rare glimpse into the heart and soul of a musical genius―and a vivid journey through the psychedelic era in America. “Music is the reward for being alive,” writes Jorma Kaukonen in this candid and emotional account of his life and work. “It stirs memory in a singular way that is unmatched.” In a career that has already spanned a half century―one that has earned him induction into the Rock and Roll Hall of Fame and a Grammy Lifetime Achievement Award, among other honors―Jorma is best known for his legendary bands Jefferson Airplane and the still-touring Hot Tuna. But before he won worldwide recognition he was just a young man with a passion and a dream. Been So Long is the story of how Jorma found his place in the world of music and beyond. The grandson of Finnish and Russian-Jewish immigrants whose formative years were spent abroad with his American-born diplomat father, Jorma channeled his life experiences―from his coming-of-age in Pakistan and the Phillipines to his early gigs with Jack Casady in D.C. to his jam sessions in San Francisco with Jerry Garcia, Janis Joplin, Bob Dylan, and other contemporaries―into his art in unique and revelatory ways. Been So Long charts not only Jorma’s association with the bands that made him famous but goes into never-before-told details about his addiction and recovery, his troubled first marriage and still-thriving second, and more. Interspersed with diary entries, personal correspondence, and song lyrics, this memoir is as unforgettable and inspiring as Jorma’s music itself. Martin’s interview with Jorma Kaukonen was recorded on September 17, 2018 (a mere ten days before fellow Jefferson Airplane founding member Marty Balin died on September 27, 2018).

Salut à tous et bienvenue dans votre musicale California Spirit Radioshow ! Et cette semaine j’ai décidé de laisser une très grande partie de la prog à une toute jeune auditrice qui se prénomme Selvina et qui a tout juste 25 ans . Elle habite l’ile Maurice et c’est une grande passionnée de la musique des années 80 ,et je dirais même plus une experte en la matière car celle-ci n’hésite pas à poster couramment sur les réseaux sociaux de belles pépites Aor et certaines vont faire partie de sa playlist , et je lui ai demandé de choisir uniquement des titres dit Calif de la période 80 / 89 , donc pas de nouveauté cette semaine , je précise , et vous allez voir le challenge est amplement gagné ! Mais avant tout cela nous nous devions sur cette antenne de rendre hommage à Marty Balin qui nous a quitté le 27 septembre dernier , fondateur de ce groupe psychédélique des années 70 Jefferson Airplane , qui deviendra plus tard Jefferson Starship puis Starship mais sans lui , mais ce sont ces dernières traces notables qui vont nous interessés par l’intermédiaire de ces 2 albums solos , Balin et plus tard Lucky , et justement écoutons si vous le voulez bien le très class Hearts tube westcoast de référence qui se classa en 1981 à la 8eme place du Billboard Hot one hundred ! La suite dans votre épisode !

Obit for Marty Balin, Steeley Dan tune Kid Charlemagne is about Owlsley Stanley & LSD,

Obit for Marty Balin, Steeley Dan tune Kid Charlemagne is about Owlsley Stanley & LSD,

Been So Long is the title of Jorma’s recent autobiography available from St. Martin’s Press. The memoir is filled with delicious stories from this one time Jefferson Airplane guitarist, who now, 77 years young continues to perform with his pal Jack Casady in Hot Tuna, and as a soloist. Jorma’s life is fascinating and his anecdotes match the great stories of his very early days to more contemporary ones. I should mention that we recorded this interview, a week before Jefferson Airplane co-founder Marty Balin’s passing. I can tell you, that he was exuberant to talk about his book and story even before we started to record. You can learn more about Jorma at his website, which also houses his blog at jormakaukonen.com. Show Notes: **First Song:** 00:45 – Been So Long **Interview Begins:** 04:32 **Extro Song:** 45:36 - Walkin' Blues See omnystudio.com/listener for privacy information.

In a dispatch from a hotel room in Chicago, Greg and Jennifer mention MacArthur Fellowships, Montserrat Caballé and Marty Balin.

Remembering Marty Balin

Started with new releases from Ethiopia, Scandinavia and beyond. Finished up with a Ceilidh (aka "Celtic Colours West"). In between, RIPs to Otish Rush, Marty Balin, and Maartin Allcock, and an interview with Blues singer Guy Davis that I made at the Vancouver Folk Festival in July.

Week of 10/5/18 is LIVE! – Led Zeppelin in court again, Billy Corgan welcomes new daughter, Jefferson Airplane's Marty Balin dead at 76, Aussie government mints AC/DC coin, Movie & Entertainment news, Sports Minute, Quick Hits on Kanye West, Tom Morello & Dave Grohl, Russian bots behind bad Star Wars reviews? New music releases this week, "On This Day In Music History Trivia" & more! Support our podcast here: www.anchor.fm/thegaragerockshow --- Support this podcast: https://anchor.fm/rocknewsweekly/support

With the passing of Starship frontman Marty Balin, Cognitive Dissidents Katie Massa Kennedy, Liz Stewart, "The Black Voice of Reason" Tymon Shipp, and Dr. David Robinson pay tribute with LBT's very first "Yacht Rock Spectacular!" and the premiere of the soon to be classic, "Nobody Cares, Get on The Bus" while talking about Rod Rosenstein's oversight, Brett Cavanaugh's hearing, and Donald Trump's general tastelessness. It's a festival of the senses, and Nothing's Gonna Stop Us from giving you your weekly dose of newsy infotainment! Get dosed!

Hello! This is the last show of July and it's been a scorcher over here on the east coast of the USA....but thanks to air conditioning we managed not to wilt. SET 1: Starting us off is the Jefferson Airplane with a Marty Balin penned song: "3/5th of a mile in 10 seconds". A live cut off of BLESS IT'S POINTED LITTLE HEAD. The Smoke has us flying with a slightly different delivery system LSD with "My friend Jack"...killer stuff from 1966. Big Joe Turner lets everyone know he doesn't need that hallucinogenic sh*t...all he needs is his "Boogie woogie country girl" played from the original source...78rpm...you betcha! Keeping with slabs of wax we switch gears and throw a 45rpm on the table with a great Beatles cover by Boxer..."Hey bulldog". SET 2: Gram Parsons keeps the 45rpm vibe going with his early band The International Submarine Band and what I consider their finest moment: "Sum Up Broke". I have no idea what they mean by that but it's a great single. Teleporting Gram 3 years into the future The Flying Buritto Brothers with "Christine's Tune". Interverntion Records remixed and released THE GUILDED PALACE OF SIN this year and it's a winner! Christine is Christine Fahr who can be seen on the cover of the LP and she's also the ghoulish looking babe on the cover of HOT RATS looking out from behind a gravestone. The Onion Radio News checks in just before south African musician and activist John Kongos rips with "He's gonna step on you again". And back to the USA with Erin McKeown and a nice ditty called "Cinematic" offa her 4th LP GRAND. SET 3: Schoolboy Cleve and his drinkin' buddies Lightnin' Slim and Polka Dot Slim mash it up with a very hard to find and great 45rpm "She's Gone" from 1954. Hop back on a plane to Canada where The Ugly Ducklings reside and "Just in case you wonder"...great stuff north of the border from 1966. The Kinks with Dave Davies handling the vocals with "Love me till the sun shines". One of my all time favs! The Byrds can't do anything wrong as far as I'm concerned …."It won't be wrong" from 1965. SET 4: Romeo Nelson with a 78 recorded in the late 20's and "Head Rag Hop"...Jesus God! I love this record! The Belltones lettin' everyone know about a "Swingin' little chickie" before Jackie Lee Cochran with one of the all time great grinders "Georgia Lee Brown" and we finish up with The Royal Teens' "Sham Rock"...That's it for this month...I'll be back next week as long as the creek don't rise and the good lord's willin'...…..

Jesse Terry is an internationally touring, award-winning singer-songwriter whose intimacy with audiences, sincerity, and approachability has solidified him as a favorite at festivals and live venues nationwide. With four full-length albums under his belt, The Runner, Empty Seat On A Plane, Stay Here With Me & Stargazer, Terry’s lyrical mastery, emotional depth, and soothing voice have often been compared to the likes of Ryan Adams, Jackson Browne, Paul McCartney and James Taylor, reaching deep into listeners’ hearts to envelope them in shared joy, sadness, love, and unrelenting hope. The Grand Prize winner of The John Lennon Songwriting Contest and The CMT/NSAI Song Contest, he has garnered worldwide acclaim including the elite honor of performing for US and NATO troops stationed at Thule Air Base in Greenland, and an official endorsement by Stonebridge Guitars International. Person by person, state by state, country by country, his fans, supporters, and colleagues have grown exponentially in the past few years, including at multiple gigs where he opened for major artists such as Darrell Scott, Paula Cole, Tony Lucca, Red Molly, Kim Richey, Liz Longley, and founder of Jefferson Airplane, Marty Balin. Photo courtesy of Steve Caputo.

Jefferson Airplane是旧金山最早为全美国熟知的迷幻摇滚乐队，他们代表了一个时代。 乐队由创作歌手Marty Balin成立于1965年夏，共6人。起先他们在俱乐部演奏一些民谣摇滚和披头士的歌曲，后来与RCA唱片公司签约.1966年乐队在RCA旗下发行《Takes Off》，在商业上小有收获。1967年2月，乐队参加了金门公园的海特阿伯莱音乐会，引起轰动，被传媒当成一个神圣文化潮流的领袖。乐队得到了唱片公司的重视，得以录制下一张专辑《Surrealistic Pillow》。这时的乐队阵容是：歌手Marty Balin、吉他手/歌手Paul Kantner、吉他手/歌手Jorma Kaukonen、鼓手Spencer Dryden、贝司手Jack Casady、女歌手Grace Slick。《Surrealistic Pillow》是乐队推出的最重要的一张唱片，它为旧金山乐派开辟了第一片天空，“旧金山迷幻摇滚出师表”之称毫不过份。它充分开发了乐器演奏的无限可能性，并以此激发了超出日常经验的想象力。金唱片销量和长久传唱的名曲“Somebody to Love”、“White Rabbit”只是这张唱片表面上的成功，实际上在此之下是1967年“爱的夏天”、为迷幻摇滚疯狂的美国、迅速蔓延的嬉皮生活方式、数目猛涨的瘾君子。在其后的时间中，乐队经历了极为频繁的人员变动，只有Kantner一人始终留在乐队中。乐队在七十年代末开始向硬摇滚方向演化，并更名为Jefferson Starship，最后称为Starship。1989年，原Jefferson Airplane成员Balin、Kantner、Kaukonen、Casady和Slick重组，并录制了《Jefferson Airplane》，虽然专辑已失去往日吸引力，但巡演却比较成功。1995年，Kantner、Balin、Casady组成了新的Jefferson Starship，并发行了《Deep Space/Virgin Sky》。

Jefferson Airplane是旧金山最早为全美国熟知的迷幻摇滚乐队，他们代表了一个时代。 乐队由创作歌手Marty Balin成立于1965年夏，共6人。起先他们在俱乐部演奏一些民谣摇滚和披头士的歌曲，后来与RCA唱片公司签约.1966年乐队在RCA旗下发行《Takes Off》，在商业上小有收获。1967年2月，乐队参加了金门公园的海特阿伯莱音乐会，引起轰动，被传媒当成一个神圣文化潮流的领袖。乐队得到了唱片公司的重视，得以录制下一张专辑《Surrealistic Pillow》。这时的乐队阵容是：歌手Marty Balin、吉他手/歌手Paul Kantner、吉他手/歌手Jorma Kaukonen、鼓手Spencer Dryden、贝司手Jack Casady、女歌手Grace Slick。《Surrealistic Pillow》是乐队推出的最重要的一张唱片，它为旧金山乐派开辟了第一片天空，“旧金山迷幻摇滚出师表”之称毫不过份。它充分开发了乐器演奏的无限可能性，并以此激发了超出日常经验的想象力。金唱片销量和长久传唱的名曲“Somebody to Love”、“White Rabbit”只是这张唱片表面上的成功，实际上在此之下是1967年“爱的夏天”、为迷幻摇滚疯狂的美国、迅速蔓延的嬉皮生活方式、数目猛涨的瘾君子。在其后的时间中，乐队经历了极为频繁的人员变动，只有Kantner一人始终留在乐队中。乐队在七十年代末开始向硬摇滚方向演化，并更名为Jefferson Starship，最后称为Starship。1989年，原Jefferson Airplane成员Balin、Kantner、Kaukonen、Casady和Slick重组，并录制了《Jefferson Airplane》，虽然专辑已失去往日吸引力，但巡演却比较成功。1995年，Kantner、Balin、Casady组成了新的Jefferson Starship，并发行了《Deep Space/Virgin Sky》。

Jefferson Airplane founding member Marty Balin guests on a fresh new Fake Show podcast with host Jim Tofte! Enjoy!

Marty Balin: singer/songwriter, founding member of Jefferson Airplane and hit maker of Jefferson Starship joins host Robin Milling to share 50 years of musical memories with his new CD, Good Memories. Spanning five decades, whether you grew up in the 60s, 70s, 80s, 90s or 2000s you'll always remember such songs as It's No Secret, Count on Me, With Your Love, and Miracles; to name a few. Marty tells Robin how they came up with the name 'Jefferson Airplane,' along with his fond memories of Grace Slick, and not so fond memories of playing Woodstock! He says the behind-the-scenes goings on at the festival were much more memorable. When Marty isn't making music he is making art. His art gallery in St. Augustine, Florida features his paintings and lots of memorabilia for sale. As a follow up to Good Memories, Balin – who is known as “The King of Love Songs” – will release The Greatest Love; a new album of original music. For more information visit: http://martybalinmusic.com/

Episode 33 of WDEK was taped on a hot and muggy day at HiFi in the East Village. Shonali has just returned to NYC from the even hotter and muggier city of Nashville, TN.  She was irritable earlier in the day and now Christian is late to the show.  Shonali makes friends in bathrooms and has tips for those who snore while awake.  Comedian/rock star Dave Hill is our first special guest.  Dave Hill explains what shredding is.  He knows how to do it well.  Shonali and Dave talk about John Mayer for entirely too long.  Dave, here's the video Shonali was referring to with Marty Balin spooning his guitar in jail.  Shonali and Dave talk bidets, the new wave that is sweeping America.  Dave has a new comedy album out now called Let Me Turn You On. Buy it now on iTunes or Amazon.  Just in time for the second guest, co-host Christian Felix joins the show.  Special guest comedian, writer and TV host of Hack My Life, Brooke Van Poppelen joins us on stage in gorgeous colors that pop.  She introduces us to the concept of Wikifeet and explains what a #LifeHack is. We talk bitchy band groupies, comedy nerds and women who would bang Craig Ferguson.  Guess who? Late Night TV hosts are so "psyched!"  We leave it at that.  Our last guest is musician Ambrosia Parsley who wears a #PinkJumpsuit on the night of her birthday.  Ambrosia has a new album out called Weeping Cherry.  Ambrosia was paid to sing in Russia for one night by The Client along with Kesha and Amy Winehouse.  Ambrosia comes to us with a story about 9 dildos and bed bugs.  Got your attention right? Ambrosia has an beautiful voice and she shares two songs accompanied by a WDEK former guest, Chris Maxwell.  She sings "Make Me Laugh" and "Rubble."  Special thanks to soundman Stephen Kurpis, photographer Daria Huxley, and bartender Tracie Matthews.  

Horrible hits from 1981, including tunes by Air Supply (duh!) and Marty Balin