Podcast appearances and mentions of mel torme

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#195 Broadcast 195 - Episode 188 - The Crooners -20250517 - Stan Getz & Mel Torme by Jim Reeves

Songs include: Second Hand Rose by Fannie Brice, Your Feets Too Big by Thomas "Fats" Waller, The Hand of Fate by Eddie Fischer, Sugar Foot Stomp by Benny Goodman, Careless Hands by Mel Torme and Pig Foot Pete by Dolly Dawn. 

This week Tom and Julie decided to put away the fun and games, and experiment with what it would be like to turn Double Threat into a True Crime podcast. Plus they watch clips of twin sisters who speak in unison, a dog who recreated the viral morning routine video, a Bigfoot call contest, and a 1995 Mountain Dew commercial featuring Mel Torme! CLIPS FROM THIS WEEK'S EPISODE: -Twin sisters recount mayhem on Steve Irwin Way https://www.youtube.com/watch?v=AKDM0GFn2M8 -Viral dog morning routine https://www.instagram.com/reel/DInFLNcpHxG/?igsh=MXhpZjNiaWllZnQybQ%3D%3D -What happened at the dog park? https://www.tiktok.com/t/ZTjM7GodM/ -A Guy and a Golden https://www.instagram.com/p/DIwZjvYOLby/ -Bigfoot Call Contest https://www.instagram.com/reel/DHB8HlaPV4O/?igsh=NTc4MTIwNjQ2YQ%3D%3D -Mountain Dew Mel Torme Commercial https://www.youtube.com/watch?v=PmD2rqD1R9o WATCH VIDEO CLIPS OF DOUBLE THREAT ⁠https://www.youtube.com/@doublethreatpod⁠ JOIN THE DOUBLE THREAT FAN GROUPS *Discord⁠ https://discord.com/invite/PrcwsbuaJx⁠ *Reddit⁠ ⁠⁠https://www.reddit.com/r/doublethreatfriends/⁠ *Facebook⁠ https://www.facebook.com/groups/doublethreatfriends⁠ DOUBLE THREAT MERCH ⁠https://doublethreat.dashery.com/⁠ TOTALLY EFFED UP T-SHIRTS ⁠https://dttfutees.dashery.com/⁠ SEND SUBMISSIONS TO ⁠DoubleThreatPod@gmail.com⁠ FOLLOW DOUBLE THREAT ⁠https://twitter.com/doublethreatpod⁠ ⁠https://www.instagram.com/doublethreatpod⁠ DOUBLE THREAT IS A FOREVER DOG PODCAST ⁠https://foreverdogpodcasts.com/podcasts/double-threat⁠ Theme song by Mike Krol Artwork by Michael Kupperman 00:00 Intro 5:05 Good Times & True Crimes 36:34 Twin sisters recount mayhem on Steve Irwin Way 45:58 Viral dog morning routine 55:22 Bigfoot Call Contest 1:03:45 Mountain Dew Mel Torme Commercial 1:11:37 Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textShy and looking for attention, the infamous Three Mouthketeers quickly become smitten with an indie cannibal romance film, who somehow, much to their surprise, reciprocates the attraction. But as these feelings intensify, so does the unexpected submersion into the wacky wild world of mukbanging. And with it, lots of interesting discussion. On Episode 662 of Trick or Treat Radio we discuss the film Cannibal Mukbang from director Aimee Kuge! We also pay tribute to the late great Val Kilmer, explore the mukbang phenomenon, and create a super team to fight our evil tariff overlords! So grab your extra spicy human meatball, don't get fooled by Mel Torme, and strap on for the world's most dangerous podcast!Stuff we talk about: John Carpenter, Dark Star, Halloween, Escape from New York, The Thing, They Live, Big Trouble in Little China, Hollywood Walk of Fame, Keith David, Gal Gadot, 2015 Vision, what is a mukbang?, Shaori, eating videos, three time Covid champ, this day in horror history, Richard Gere, Planet of the Apes, Primal Fear, Butcher Boy, Lost in Space, Joe Nosferatu, Charo, The Man With the Screaming Brain, Bruce Campbell, Mackey Sasser, Cheers, Danny Glover, Mel Gibson, 8 cups of coffee a day, The Tariff Titans, The Inve$tment, RIP Val Kilmer, Top Secret!, Real Genius, Tombstone, George Cosmatos, The Saint, The Salton Sea, Batman Forever, Vincent D'Onofrio without a nose, The Doors, The Naked Gun, Peter Cushing, Morton Downey Jr, Kiss Kiss Bang Bang, Heat, Top Gun, Cary Elwes, Willow, McGruber, Al Pacino, Michael Mann, True Romance, Knight Rider, The Super, Joe Pesci, eating food on social media, Feed, ASMR, the phenomena of videos that appeal to the senses, Cannibal Holocaust, Ravenous, Robert Carlyle, Guy Pearce, Brain Damage, long pig, cannibal bibs, April Consalo, Nate Wise, Aimee Kuge, Cannibal Mukbang, Castle Muckbang, She Wants Revenge, American Psycho, Genesis, Huey Lewis and the News, MaXXXine, Mia Goth, fearless performances, fearless = naked, “good for her” moments, he might be neutered but he's not dumb, Fandago at home, Osgood Perkins, Brian Paulin, Bone Sickness, Vinegar Syndrome, Bone Tomahawk, Kevin Barbare, The Three Mouthketeers, Who's the Fool the Mukbanger or the Mukbangee, and the depths of douchebaggery.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

(00:00-15:31) This is Doug's favorite Cardinals song of all-time. Tim joining Gabe for the Tiger Club Lunch on April 1st. Luken Baker made the squad. Audio of Oli Marmol talking about Baker earning a spot. Nub texting in. Will Jackson watch the Blues tonight? We all got together to watch a tornado doc. Colton Parayko skating this morning. (15:39-20:53) Mel Torme, Doug. The 10:00 hour is the Hour of Love. Open faced sandwiches. (21:02-30:41) E-Mail of the Day Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

(00:00-15:31) This is Doug's favorite Cardinals song of all-time. Tim joining Gabe for the Tiger Club Lunch on April 1st. Luken Baker made the squad. Audio of Oli Marmol talking about Baker earning a spot. Nub texting in. Will Jackson watch the Blues tonight? We all got together to watch a tornado doc. Colton Parayko skating this morning. (15:39-20:53) Mel Torme, Doug. The 10:00 hour is the Hour of Love. Open faced sandwiches. (21:02-30:41) E-Mail of the Day Learn more about your ad choices. Visit podcastchoices.com/adchoices

1990 is an odd time for a hard rock band from the late 70's to make a comeback.  Hair metal was declining rapidly, and music that would form the grunge movement was percolating up in the pacific northwest.  But that is exactly what AC/DC did with their album The Razors Edge.  The album reached number 2 on the Billboard 200 chart and number 4 on the UK albums chart, and it would become AC/DC's third highest selling album behind “Back in Black” and “High Voltage.”After concluding their 1988 world tour the band had some changes and interruptions.  Drummer Simon Wright left the group to join Dio, and was replaced by Chris Slade who would be with the group until 1994.  Front man and songwriter Brian Johnson took some time off to finalize his divorce, which left brothers Malcolm Young (rhythm guitar and backing vocals) and Angus Young (lead guitar) to write all the songs for the album.  They would continue to be the songwriters for the band through 2020.Critical reviews of the album were mixed, with negative comments revolving around the idea that this album was nothing new for the band. With the benefit of hindsight it may be that the consistency with AC/DC's previous works is actually a strength of the album.  In a period of big shifts in rock music, AC/DC provided a point of stability and a return to hard rock origins.Friend of the show Julie Doran joins us to bring us this high energy hard rock masterpiece with Rob. Are You ReadyThe anthem that leads of side 2 of the album reached number 16 on the US charts, and became the band's only number 1 hit in New Zealand.  It is used in a number of sports events and is also familiar as the official theme for WWE SmackDown on Fox.ThunderstruckThe lead off track and lead single to the album is a signature song for the band.  It started as a "little trick" Angus Young played on guitar, and Malcolm built the rhythm guitar behind that riff.  It has been performed in almost every live show the band has performed since its release. MoneytalksThis track reached number 23 on the Billboard Hot 100, making it the first top 40 hit for AC/DC since Back in Black in 1981.  Interestingly, the song has not been performed live since the band toured The Razors Edge.   Part of the appeal of AC/DC on this album could have been the downturn in the economy at the time, striking a cord with blue collar employment struggles.  If so, money really does talk!The Razors EdgeWhile this song is the title track it was not released as a single.  This dark track talks about the fine line between success and failure, good and evil, life and death.  "You're running out of lives, and here comes the razor's edge." ENTERTAINMENT TRACK:Have Yourself a Merry Little Christmas by Mel Torme (from the motion picture "Home Alone")This Christmas classic saw its debut from Judy Garland in the motion picture "Meet Me in St. Louis".  Mel Torme's version was used in the Christmas movie "Home Alone" which was in theaters in 1990. STAFF PICKS:Keep On Loving Me Baby by Colin JamesWayne starts out the staff picks with a Canadian blues singer-songwriter.  This cover from James' second album, Sudden Stop, is a high energy cover of a tune originally written by Otis Rush in 1958.  James benefitted from the blues revival of the time, as well as the soon-to-come swing revival in the early- to mid-90's.Chain of Fools by Little CaesarLynch brings us another cover originally performed by Aretha Franklin and written by Don Covay in 1967.  Little Caesar is a hard rock band formed in the late 80's which had a short career before problems with their label, and the eclipsing of hard rock by grunge contributed to their decline.  This cover from their debut single was their most memorableDiabolic Tastemaker by the Cherry Poppin' DaddiesBruce's staff pick is a deep cut off the Daddies' debut album "Ferociously Stoned."  This horn-heavy track first appeared on their 1989 demo tape before it was added to their album.  The band  at the time was an amalgam of punk, funk, jazz, ska, and swing at the time, thought future albums would move heavily towards swing.If You Needed Somebody by Bad Company Julie features the second single off Bad Company's ninth studio album, Holy Water.  It was their first top 40 hit since “Rock and Roll Fantasy” back in 1979.  The rock ballad hails from BadCo's days with Brian Howe as the front man, as Paul Rodgers had left the group in 1982 and was performing solo at the time.  Been Caught Stealing by Jane's Addiction Rob finishes off the staff picks with the third single from Ritual de lo Habitual, and the biggest single, topping the Billboard Modern Rock charts for four weeks.  The dog barking is Perry Farrell's pet Annie, who was brought to the studio.  The barking was not planned, but the coincidence was included on the track. COMEDY TRACK:Do the Bartman by The SimpsonsBart Simpson closes us out this week with this lost epic.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

#186 Broadcast 186 - Episode 179 - The Crooners - 20250315 - 3 in 1 = Mel Torme by Jim Reeves

He just wants to work on the drums all day To commemorate four centuries in business, the Zildjian cymbal company commissioned Aaron Latos to build 400 snare drums from the same alloy that goes into their rides, crashes and high hats - staple elements of a jazz or rock drum set. Recipients include Sheila E., drummer's drummer Steve Gadd (Paul Simon's "50 Ways to Leave Your Lover") and tatted celebrity Travis Barker of Blink 182 (who survived a plane crash and dated Kim Kardashian). The anniversary passed in 2023 and Latos, who moved last year to Beacon with his wife and two young children, is 10 units shy of fulfilling the order. In the meantime, he's trying to perfect the manufacturing process for his own line of snares, tom-toms and bass drums crafted from nickel silver, which he assembles nearly from scratch in his Newburgh shop. Only the washers and tension rods clamping down the hoops that tune and tighten the drumheads are machined off-premises. By year's end, he plans to move the lathes, drills and rollers to a space in Beacon double the size of his current spot. Latos, 36, hails from West Virginia and made a living drumming in recording sessions and touring with country singer Margo Price. He performs around town with the Stephen Clair Band and takes on select students and studio projects. Drummers are notoriously picky about their gear and setup. Drum and cymbal angles must hit every time. Some prefer wood over metal snares. Others argue over tuning techniques. Every cymbal sounds different and comes in myriad shapes and sizes. Latos is so detail-oriented that he patented a snare drum throw-off system, the mechanism that lifts and holds down the coiled snare wires that add snap to the two and four beat of nearly every pop and rock song. His patent for the butt plate, which anchors the snares, is pending. "I'd have more patents, but they're expensive," he says. As far as he knows, Latos is the first to make nickel steel drums. He digs the sound, but the manufacturing process is like wrestling an alligator and presents "the most annoying and frustrating fabrication characteristics" that are "difficult to cut and work." The raw material arrives in long, flat sheets, like the plies of wood used in most drums. Labor consists of rolling, shearing and brazing them together. His loud, hefty snare drums pay homage to models used by big band jazz drummers in the 1920s and '30s designed to cut through 17-piece outfits in the days before specialized microphones. Weighty shells for his floor and rack toms are capped by silvery stainless steel and solid brass copper-colored hoops. Bass drums come with brown wood hoops. The end results are so striking that each piece looks like a sculpture. A basic snare costs $2,000 and a full drum kit starts at $10,000. Customers range from doctors and lawyers to pros, including Bob Meyer, a jazz cat and early adopter, Jeremiah Green of Modest Mouse (who died in 2023) and Harvey Sorgen, who has played with Hot Tuna, Derek Trucks and Paul Simon. Latos' workshop is relatively tidy, although gold and silver shavings litter the floor, including the rug in the cozy corner with a couch, turntable and pile of vinyl records capped by Mel Torme, Chuck Mangione and Haitian group Bossa Combo discs. "Every 22 minutes or so, I come over and flip the record," he says. "It helps me focus on what I am doing and what I should be doing." Latos Drums is located at 11 Spring St. in Newburgh and at latosdrums.com.

Listen to an interview with the legendary producer and bassist Don Was. He'll be performing in Central Indiana, with the Pan Detroit Ensemble on February 28 at the Allied Solutions Center for the Performing Arts. Born in Detroit, Michigan in 1952, Don Was rose to prominence in the 1980s, with the band Was (Not Was), the group's music featured a surreal mix of funk, electronic dance music, new wave, and avant-garde jazz, along with an unexpected cast of guest performers that included Mel Torme, Ozzy Osbourne, Frank Sinatra Jr., Iggy Pop, and Leonard Cohen. Was (Not Was)  scored a top 10 hit in 1987, with the infection dance song “Walk the Dinosaur”.  The notoriety Was gained with Was (Not Was) paved the way for his historic work as a record producer. Was has received 6 Grammy Awards for his work as a producer, including album of the year in 1989  for Bonnie Raitt's Nick of Time and producer of the year in 1994. Was has produced dozens of significant recordings, including the B-52's breakout album Cosmic Thing, along with notable work, from The Rolling Stones, Iggy Pop, Bob Dylan, Willie Nelson, Elton John, Ringo Starr, Brian Wilson, Wayne Shorter, and Waylon Jennings, to name a few. Since 2011, Was has served as president of the revered jazz label Blue Note Records.   Throughout his life, Was has looked to the culture of his hometown Detroit as a reference point and source of inspiration for his work, that's evident in his latest project the Pan Detroit Ensemble a group of veteran Detroit jazz and R&B musicians.

Larry Vuckovich is an acclaimed Yugoslavian-born, 89 years young, jazz pianist. He achieved fame after immigrating to the United States. He performed with all the jazz greats including Dexter Gordon, Philly Joe Jones, Jon Hendricks, Mel Torme, Tony Bennett, Bobby Hutcherson and Bobby McFerrin. He was the first one to fuse Balkan ethnic music with American jazz. Last year he received a Lifetime Achievement award from his former country which was given to him at the Nisville Jazz Festival in Serbia. And he's got his own YouTube channel too!My featured song is my version of Miles Davis's "All Blues" from the album Miles Behind. Spotify link.    ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S SINGLES:“LOVELY GIRLIE” is Robert's new single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Selección musical de Charlie Fáber, director de Sateli3."Out On The Floor" - Dobie Gray"Exit Loneliness Enter Love" - Tommy Mosley"The Duck" - Jackie Lee"Barefootin´" - Robert Parker"Chills and Fever" - Ronnie Love"The Work Song" - Tommy Hunt"Miss Treatment" - The Incredibles"Love Makes The World Go Round" - Deon Jackson"Catch That Teardrop" - The 5 Royales"Girl Watcher" - The O´Kaysions"I´m On My Way" - Barbara Dane"The Ice-Man" - Billy Watkins"Backfield In Motion" - Mel & Tim"I´ve Arrived" - Steve Flanagan"It´s Your Voodoo Working" - Charles Sheffield"Take A Giant Step (Walk On)" - The Profiles"Fortune Teller" - Benny Spellman"I Can´t Get Over Losing Your Love" - The Incredibles"Comin´ Home Baby" - Mel Torme"Lover Come Back To Me" - The Cleftones"Give Our Love A Chance" - Ada Ray Escuchar audio

Aaaand we are back for part 2 of the magnum octopus that is the David Weiss/Was interview with a cast list including Ozzy Osbourne, Madonna, Mel Torme, Kim Basinger, Bob Dylan, Versace, George Harrison, Rickie Lee Jones, etc, etc.3. OUT COME THE FREAKS (1981-90)After a brief preamble taking in his relationship with Don and diversions with The Rolling Stones and Rickie Lee Jones, we tackle the many iterations of the WNW classic, Out Come Freaks. We go through the litany of characters that populate the lyrics and David defines which were based on real people. 4.  SWEET PEA ATKINSON LP (1982)A little detour as the brothers decide to make a Sweet Pea Atkinson solo LP, Don't Walk Away, writing a handful of songs for the occasion, some of which are pretty darn good.5. BORN TO LAUGH AT TORNADOES (1983) The first classic WNW album is born with contributions from Doug Fieger, Mitch Ryder and Mel Torme. Discussion on what I think should have been the four massive hits on the album....6. SHAKE YOUR HEAD (1983)...One of which eventually did become their biggest hit in the UK in 1992 (yes, even bigger than Boom-Boom-Shackaklackalacka-Boom).Discussion on the earlier incarnation with a on-the-cusp-of-fame Madonna and Ozzy Osbourne. Plus the 90s version with Kim Basinger and Ozzy. Great anecdote from David with name-drops galore.David is on Twitter @HennyYoungbloodDonations gratefully received via PayPal - 80sography@gmail.com                                That Flashing Tie Was A Riot!Send us a text

It's not just our homes that get lit up over the Winter Holidays, the night sky will also be aglow with some fascinating astronomical events. Celebrated astronomer Andy Fraknoi tells host Gil Gross about the stunning visuals we will see when searching the night sky for Santa's sleigh.Then, one of the most beloved songs of the season, The Christmas Song composed by Mel Torme, has a fascinating origin story. As we approach the centennial of Torme's birth and the eightieth anniversary of the song's recording, singer and song stylist James Torme, Mel's son, reveals the little known account of how the song came to be and the over-sized impact it had on our culture.Finally, the Emmy-Award winning host of MInd Your Manners Sara Jane Ho shares with Gil important etiquette tips on gift-giving and gift-receiving.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Merry Christmas, Honestly listeners! We hope you've been enjoying the parties, the spirit of charity, the lights, the tree at Rockefeller Center, the schmaltzy movies, and of course, the infectious Christmas music everywhere you turn. But did you know that the Americans who wrote nearly all of the Christmas classics were . . . Jewish? Indeed, many of the writers of your favorite Christmas jingles were the children of parents who had fled Russia and other parts of Eastern Europe during the great wave of immigration between 1880 and 1920. Sammy Cahn, the son of Galician Jewish immigrants, wrote the words to “Let it Snow!” and was known as Frank Sinatra's personal lyricist. There is also Mel Torme, the singer-songwriter responsible for composing the timeless “Chestnuts Roasting on an Open Fire.” His father fled Belarus for America in the early 20th century. Frank Loesser, a titan of Broadway and Hollywood musicals, wrote the slightly naughty “Baby, It's Cold Outside.” He was born into a middle-class Jewish family, his father having left Germany in the 1890s to avoid serving in the Kaiser's military. Johnny Marks, the man who gave us “Rudolph, the Red Nosed Reindeer,” “A Holly Jolly Christmas,” and “Rockin' Around the Christmas Tree”—yes, he was also one of the chosens. Then there's the greatest American composer of them all, Irving Berlin. His “White Christmas” is one of the biggest-selling singles in the history of American music. Berlin's earliest memory was of watching his family's home burn to the ground in a pogrom as his family fled Siberia for Belarus before emigrating to NYC in 1893. Today, Free Press columnist Eli Lake explores why and how it was that American Jews helped create the sound of American Christmas. We hope you enjoy this delightful and surprising jaunt through musical history. Happy holidays! *** This show is proudly sponsored by the Foundation for Individual Rights and Expression (FIRE). FIRE believes free speech makes free people. Make your tax-deductible donation today at www.thefire.org/honestly. Learn more about your ad choices. Visit megaphone.fm/adchoices

These children of showbiz legends are ensuring that their fathers' memories and legacies live on. We speak with James Tormé and Melissa Tormé-March about their Velvet Fog of a dad, Mel Tormé, as we approach the 80th anniversary of his incomparable contribution to the holiday music canon, 'The Christmas Song'. Then Joel Brokaw joins us. His new book 'Driving Marilyn: The Life and Times of Legendary Hollywood Agent Norman Brokaw' chronicles the history of William Morris star-maker, Norman Brokaw, known to Joel as Dad.Melissa and James share their enthusiasm for Oy! To the World Christmas with a Twist, a new musical playing this month at North Hollywood's El Portal Theatre, which features their father's music alongside a hit list of Christmas classics composed by Jewish-American songwriters. James and Melissa take us back to the sweltering July day in 1945 when their Dad and Bob Wells attempted to beat the heat with wintery lyrics and remained sweaty but created magic by conjuring “Chestnuts roasting on an open fire…”They rushed the song over to Nat King Cole who was in at a few bars and proudly led a parade of 80,064 recorded covers, including James' own version! The Torme kids share their Torme Christmas memories which include their dad and contraband Christmas movies!Then Joel shares his family's history as a Ukrainian vaudeville acrobatic act that segued into the agency business when his Uncle, Johnny Hyde became VP of William Morris, discovered Marilyn Monroe and took on his young nephew, Norman to drive and accompany Marilyn to events.Starting in the mailroom, Norman worked his way up to CEO.  We hear about his working relationships with Marilyn Monroe, Kim Novak, Colonel Tom Parker, Dick Van Dyke, Gerald Ford, Mark Spitz, Barry Gordy and so many other greats.Joel talks about his complicated history with a father whose clients received his primary caregiving. Joel grew up with TV stars spending weekends by his pool, monopolizing his Dad's attention.But what were the qualities that made Norman so affective as a talent mentor? We learn the magic ingredients and hear how Norman took the new fangled TV department and made history with Loretta Young, Barbara Stanwyck, Dick Van Dyke and Andy Griffith.  Joel also talks about Norman's relationship with Bill Cosby and how his father's dementia buffered him from the horrors of Cosby's crimes. And, finally, what was the fate of Norman's sacred, secret keeping Rolodex?Plus, this week Weezy recommends Nutcrackers on Hulu and Fritz is all about Thelma, now in theaters and on streaming platforms.Path Points of Interest:Oy! To The WorldJames Tormé James Tormé on YouTubeJames Tormé  on XThe Christmas Song by James Tormé James Tormé at Kookaburra on 12/21Joel BrokawDriving Marilyn by Joel BrokawNorman Brokaw on WikiNutcrackers on HuluThelma - Streaming in Most Places  

Today on another encore edition of the Rarified Heir Podcast, we are talking with….host Josh Mills. Yes, on this episode, our 100th, we somehow wrangled guest Daisy Torme, daughter of singer Mel Torme and actress Janette Scott to be a guest host as part of this special episode.  In fact, it was because of this podcast that we reconnected with Daisy and her brother James Torme months prior which led to a few lunches, quite a few laughs and much merriment. So when we were thinking of what to do for our 100th episode, it seemed pretty simple as to who we'd like to mix things up with. Daisy was kind enough to slip behind the proverbial desk and guest host the podcast and interview the host about his life. What a concept. Daisy was terrific in her newfound role as we discussed family connections, Josh's mom's, Edie Adams career, celebrities connections we had in common, family music publishing and a whole lot more. It's also safe to say that Josh had a good time as guest. Because, after all who doesn't have the “Enough about me, what about me?” syndrome? So we touched on quite a bit that maybe in prior episodes we danced around but didn't fully explain. Here, on this episode – we do. So please enjoy this latest encore episode of the Rarified Heir Podcast this American Thanksgiving week 2024 and remember, everyone has a story. Even the host.  Another child of a celebrity, interviewed by another child of a celebrity. With a twist. This is the Rarified Heir Podcast.

Today on the Rarified Heir Podcast, we are talking to J.D. Lobue Jr., son of television director & at one time budding sunshine pop musician J.D. Lobue Sr. We reached out to J.D. Jr., after reading an article in a fantastic music magazine called Ugly Things about a band from the 1960s called The Gordian Knot. While reading the article, the name J.D. Lobue came up and host Josh Mills immediately thought, “That MUST be the father of my former little league baseball teammate!” After all, Lobue isn't Smith, it's a pretty unique name. With a little bit more research, we discovered our hunch was correct, it was the same person. As we dug a little further, we realized that not only was Sr. a member of The Gordian Knot, but was also a well-known television director whose credits included multiple credits for iconic American shows like Soul Train, Soap, It's A Living, Herman's Head, Dharma and Greg and so many more. There were also credits for shows that didn't make it like Norman Lear's All's Fair, Amanda's By The Sea, Comedy Zone, You Take The Kids and more. So on this episode, we get into the weeds on what it was like in the booth watching your dad direct Soul Train and how your dad kept it together when things didn't go right on the set of Soap. We also discuss meeting the great Madeline Kahn, how he channeled The Bad News Bears Tanner as a member of the Dodgers at Studio City National Little League, iconic TV director Jay Sandrich, the jazz fusion band The Crusaders, sitting in Archie Bunker's chair on the All in the Family set, playing tennis at Mel Torme's house and much more. This is the Rarified Heir Podcast and everyone has a story. Take a listen.

Songs include: By the Light of the Silvery Moon by Billy Murray, Blue Moon by Mel Torme, How High the Moon by Helen Forest, No Moon at All by the Ames Brothers and Moonlight Sonata by Solomon.

National Bald is beautiful day. Entertainment from 2013. 1st naval battle of civil war, Velcro invented, Scooby Doo debuted, Willie Nelson smoked a Big fat Austin torpedo on White House roof. Todays birthdays - Milton Hershey, Bill Monroe, Mel Torme, Jaqueline Bisset, Peter Cetera, Jean Smart, Dave Mustaine, Tyler Perry. Tupac Shakur died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Bald is beautiful - ?Blurred lines - Robin Thicke  TI  PharrellThat's my kind of night - Luke BryanBirthdays - In da club - 50 Cent     https://www.50cent.com/Blue moon of Kentucky - Bill MonroeCareless hands - Mel TormeGlory of love - Peter CeteraTrust - MegadeathHow do you want it - Tupac ShakurExit - In my Dreams - Dokken    https://www.dokken.net/Follow Jeff Stampka on facebook and cooolmedia.com 

Rich Little has boldly done impressions of presidents for presidents! The man of a thousand voices is a show biz legend who has been delighting audiences for decades. His new one-man show is a multi-media event that includes TV highlights, his spectacular sketches and, of course, his phenomenal impressions! Rich joins us to give voice (often not his own!) to his unique show biz history!Rich Little's first impersonations were of Canadian political leaders in his home country. His buddy Mel Torme sang his praises to Judy Garland who was blown away by his take on her A Star Is Born co-star James Mason and his appearance on her show launched him into the iconic, glittering age of 60s show biz! It was a time when the impressions he mastered were instantly recognizable and are still indelibly so… Dean Martin, Frank Sinatra, Don Rickles, Jimmy Stewart, Jack Benny and George Burns. Rich's appearances on Dean's roasts had him doing impressions of huge stars right in front of them while the rest of show biz intently surveyed their reaction.  He has opened for Las Vegas superstars and broken the record for the longest running one man show in Vegas history.  He has made hundreds of TV appearances, nine comedy albums, and three HBO specials. He's befriended Presidents, guest-hosted The Tonight Show and entertained The Queen! Rich joins us with voices and stories! Which Hollywood Squares star openly hated Rich's impression of him? How did Rich incur the wrath of Bette Davis and tick off Johnny Carson? And the Judge who swore Rich in as an American citizen asked him to read the Pledge Of Allegiance as what movie star?All is revealed! Plus, Fritz and Weezy are recommending The Friday Afternoon Club: A Family Memoir by Griffin Dunne and Wyatt Earp and The Cowboy War on Netflix. Path Points of Interest:Rich LittleRich Little at the Laugh Factory Covina on 9/8/24Rich Little on WikipediaRich Little on FacebookRich Little on InstagramPeople I've Known and Been by Rich LittleRich Little on the Dean Martin Roast of Jack BennyRich Little on Jackie GleasonRich Little on Judy GarlandThe Friday Afternoon Club: A Family Memoir by Griffin DunneWyatt Earp And The Cowboy War - Netflix

We've got some exciting new finds for our record collections to share on today's radio dance party. There's a version of a Tams classic northern soul song we hadn't heard before, an Ikettes record that had so far escaped us, a nice Tina Britt tune, and a rare one by Kenny Wells that made its way into James's play box. We've got Major Lance, The Sweet Inspirations, Dolly Parton, Mel Torme, Jackie Shane, The Artistics, some Hoosier garage rock, and more!For more info and tracklisting, visit: https://thefaceradio.com/that-driving-beat/Tune into new broadcasts of That Driving Beat, Tuesdays from 8- 10 PM EST / 1 - 3 AM GMT//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

We've got some exciting new finds for our record collections to share on today's radio dance party. There's a version of a Tams classic northern soul song we hadn't heard before, an Ikettes record that had so far escaped us, a nice Tina Britt tune, and a rare one by Kenny Wells that made its way into James's play box. We've got Major Lance, The Sweet Inspirations, Dolly Parton, Mel Torme, Jackie Shane, The Artistics, some Hoosier garage rock, and more! -Originally broadcast August 25, 2024- Willie Mitchell - That Driving BeatWillie Parker - I Live the Life I LoveBrothers and Sisters - Shake A LadyThe Ikettes - Sally Go Round the RosesMajor Lance - Little Young LoverThe Sensations - Gotta Find Myself Another GirlD.J. Groover - Hey Girl, Don't Bother MeKenny Wells - Isn't It Just A ShameBetty Adams - See Me ThroughBobby Freeman - C'mon and SwimJackie Lee - The Shotgun and the DuckMarion Black - Who KnowsThe Charts - I Wanna Take You HomeThe Sweet Inspirations - I'm BlueTina Britt - The Real ThingDolly Parton - Control YourselfCharlie Gracie - Walk With Me GirlDon Covay & Goodtimers - SeesawBocky and the Visions - Good Good Lovin'The Surf Suns - Still In Love With You BabyThe Trolls - Every Day and Every NightMel Tormé - Comin' Home BabyMarie Knight - Cry Me A RiverJackie Shane - Any Other WayBad & Good Boys - We Got SoulHomer Banks - 60 Minutes of Your LoveThe Imaginations - I Love You, More (Than Anyone)Otis Leavill - Charlotte (Yes I'm Gonna Miss You}J.J. Jackson - Here We Go AgainSister Sledge - Love Don't You Go Through No Changes On MeThe Artistics - It's Those Little Things That CountSherri James - Sweet Talkin' GuyAl Greene & The Soul Mates - Don't Leave MeThe Chirades - PacemakerThe Intensions - I Don't Care AnymoreOtis Clay - It's Easier Said, Than Done Hosted on Acast. See acast.com/privacy for more information.

Episode 309, My Favorite Albums, samples a dozen LPs that were Sam Waldron's favorites when he was young. Performers include Tommy Sands, Elvis Presley, Barbra Streisand, The Platters, Mel Torme, Tony Bennett, and The Beatles.... Read More The post Episode 309, My Favorite Albums appeared first on Sam Waldron.

Mel Torme, fat co-workers, Lassiter rant, Doug Swallow & Disney Gay Days

Episode 580 also includes an E.W. Poetic Piece titled "Just Past Solstice." Our music this go round is provided by these wonderful artists: Thelonious Monk, Mel Torme, the Who, Death Cab for Cutie, Branford Marsalis and Terence Blanchard. Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

From the radio plays the crooner hit "Live Alone and Like It." But is it possible this song is really talking about Dick Tracy himself? Or The Kid? Or even Warren Beatty! Alex Asp returns to pick apart a song that, at first glance, may appear to be slight but actually has some depth.Follow Alex on Instagram here: https://www.instagram.com/alexasp44/Look at the Sondheim Database project here: https://www.sondheimdatabase.com/We are using two productions to frame our discussion of Dick Tracy.The original film (1990) starring Warren Beatty and Madonna.You can find that on YouTube: https://www.youtube.com/watch?v=yjfdLifDKhAThe Broadway production of Putting It Together.You can listen to that here: https://www.youtube.com/watch?v=xrJgE9SWMR0Send feedback to puttingittogetherpodcast@gmail.comKeep up to date with Putting It Together by following its social media channels.Patreon: https://www.patreon.com/puttingittogetherpodcastTwitter: https://twitter.com/sondheimpodcastInstagram: https://www.instagram.com/sondheimpodcast ★ Support this podcast on Patreon ★

Welcome along for another couple of hours of jazzy,soulful,afro,,Breaks & beats and all the bits inbetween .Artist included are Jordan Rakei,Laiz & The New Love Experience,Bebel Gilberto, UFO,Mark Murphy,Mel Torme,Frank Noviello,David Mrakpor,Erykah etcAja & Claire

Allan and Eva Anderson (Briarpatch, You're The Worst) roam the hallowed Hollywood Forever Cemetery, reflect on departed celebrities, and discuss immersive experiences. Special appearance by historical journalist Hadley Meares. Discover Hollywood Forever Cemetery! Hollywood Forever Cemetery The Young And The Dead Documentary https://www.imdb.com/title/tt0259747/ Hollywood Forever Cemetery Walking Tour https://www.cemeterytour.com/ Mel Torme's Funeral https://www.latimes.com/archives/la-xpm-1999-jun-08-mn-45301-story.html Eva's most recent immersive theater collaboration https://www.theshapeofthenight.com/aboutaotw Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 303, The Great American Songbook, features males performing 17 songs from Broadway and Hollywood productions, including Kismet, The King & I, South Pacific, Do Re Mi, and Pal Joey. Performers include Mel Torme, Frank... Read More The post Episode 303, The Great American Songbook appeared first on Sam Waldron.

Cocinamos una selección de clásicos en versiones de bandas y discos actuales.(Ilustración del podcast; D. Clinton Thompson)Playlist;(sintonía) D. CLINTON THOMPSON “You really got me” (The Kinks)FATBOY “Right now” (Herby Mann, Mel Torme)PAT TODD and THE RANKOUTSIDERS “Tower of song” (Leonard Cohen)ZACK KEIM “Here comes your man” (Pixies)THE DAHLMANNS “A thing about you” (Tom Petty and the Heartbreakers)PAUL COLLINS “Tell me” (The Rolling Stones)MIDNIGHT CALLERS “Jumpin’ Jack Flash” (The Rolling Stones)LYSA MICHOLS and SUPER 8 “Baba O’Riley” (The Who)JD McPHERSON “White light, white heat” (The Velvet Underground)MAXIM LUDWIG and ANGEL OLSEN “I can’t stand it” (Lou Reed)DIAMOND DOGS “Hey hey hey hey” (Little Richard)MARCEL BONTEMPI “The witch” (The Sonics)THE CABRIANS “Ace of spades” (Motörhead)THE JANCEE PORNIK CASINO “Somebody to love” (Jefferson Airplane)LUNA “Starman” (Bowie)FIFTY FOOT COMBO and REVEREND BEATMAN “Alligator wine” (Screamin’ Jay Hawkins)Escuchar audio

Danny Bacher is an award-winning singer, saxophonist, songwriter and entertainer in the fullest sense of the term. He's not only a master of the demanding soprano sax, but combines his virtuosity on the instrument with a talent for comedy and narrative storytelling. He's a smooth and cool individual who makes hot jazz and pop, cut fromthe cloth of the great Louis Prima and Mel Torme. With Lived Experience, JAMES BEAMAN returns to the cabaret stage for the first time since 2002, when he, Goldie Dver and David Maiocco received the MAC Award for Revue of the Year for their show Crazy World: Songs of Leslie Bricusse. Jamie came to New York in 1993 with his solo act, Bacall: By Herself (CaB Magazine Award). After headlining the world famous La Cage Revue at The Blue Angel, he created three shows as Marlene Dietrich, Queen of the World (Bistro Award), Marlene! Alive at the Café de Paris and Black Market Marlene, which he toured to San Francisco, New Orleans, and Berlin, Germany for the Millennium. His acting career spans three decades, including Off Broadway (The Road To Qatar!, When Pigs Fly, A Wilder Christmas, Howard Crabtree's Whoop-Dee-Doo!) and regional theatres, from Goodspeed Musicals to The Kennedy Center. Jamie starred as Sir Robin in the First National Tour of Monty Python's Spamalot, playing 62 cities and 700 performances, opposite stars Richard Chamberlain, Jonathan Hadary, Gary Beach and John O'Hurley. Tessa began acting as a teenager in Ionesco's “The Bald Soprano” at the Washington Theater Club, and as Sandy in “The Prime of Miss Jean Brodie” for the Chevy Chase Players before heading off to SUNY Purchase to study Political Economy and Film. 

Today's crossword was Bill Thompson's 10th NYTimes publication, and based on this, we can't wait for his 11th. The theme was extremely clever, and there were OCEANS of great clues, including 55D, "Gee, I wish I was back in the _______" (song from "White Christmas"), ARMY; an APPLEBETTY alternative, perhaps, 30D, Linzer _________ (pastry); and 42D, 1965 film starring George Segal that was set in a P.O.W. camp, KINGRAT.So, even though this crossword was a tad crunchier than usual, we found it adorbs, most definitely worthy of a full 5 squares on the JAMCR scale.Show note imagery: Mel TORME, no relation whatsoever to his daughter Marissa TOMEI.Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

During an incredible Broadway career that stretched from 1953 to 1998, composer Cy Coleman created the music for 12 Broadway musicals. Unlike most Broadway composers, however, he was never part of an ongoing songwriting team but instead worked with seven very talented but very different collaborators. My guest today is one of those esteemed lyricists -- David Zippel who partnered with Cy Coleman on the score for the 1990 Tony Award winning "Best Musical", City Of Angels the hit musical that altogether received 10 Tony Awards including Coleman and Zippel's win for Best Score. That show launched David on his own stellar career which has honored with two Academy Award nominations, two Grammy Award nominations, and three Golden Globe nominations. His songs can be heard on over twenty-five million CDs around the world that include recording by Stevie Wonder, Christina Aguilera, Mel Torme, Ricky Martin, Cleo Laine, Barbara Cook, Nancy LaMott, and include the Original Broadway Cast and Soundtrack recordings of The Goodbye Girl, The Women In White, The Swan Princess and Disney's Hercules and Disney's Mulan. David and I first met shortly after we had both arrived in NY in the early 1980's and have remained friends and colleagues ever since. Today we begin our conversation talking about Coleman's Russian-Jewish heritage. So many Broadway songwriters -- Irving Berlin, George Gershwin, Richard Rodgers, Harold Arlen, Leonard Bernstein to name just a few were the children or grandchildren of Russian-Jewish immigrants. If you enjoy this podcast, I invite to join my Broadway Nation Facebook Group where there is a large and lively community of musical theater enthusiasts. We have a great deal of fun and I feel certain that you will too! And If you would like to hear more about Carolyn Leigh, Dorothy Fields, Betty Comden and other women who invented the Broadway musical, you may want to check out Episode 7 and 8 of Broadway Nation. Special thanks Special thank the Julia Murney and David David Burnham, everyone at KVSH 101.9 FM the voice of beautiful Vashon, Island Washington, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

So is it "Oysters" or "Ersters"? In this episode of Same Difference, Johnny and AJ address this and many other linguistic questions posed in the song "Let's Call The Whole Thing Off". Along the way, you'll hear versions of this Jazz standard by Fred Astaire and Ginger Rogers, Billie Holiday, Mel Torme, Ella Fitzgerald and Louis Armstrong, Harry Connick Jr., and new-to-us artist The Jazz Sisters.

Today on part two of our encore episode of the Rarified Heir Podcast, we continue our conversation with guests Daisy Torme and James Torme. And that can only mean one thing: more great stories about growing up the children of The Velvet Fog, Mel Torme, one of the greatest voices in all Jazz history. We speak to Daisy and James not only about their father but also their mother, actress Janette Scott. Terrific stories abound. We hear about spending the Summer in Los Angeles with their dad, a bonkers story about how their parents met and there's a heart-warming/hear breaking story about leaving their dad at the airport and returning home to England. Speaking of England, we learn more about their childhood as both their mother and grandmother Dame Thora Hild were nothing short of national figures in the U.K. I mean really, doesn't everyone's mother have an annual film festival in their honor or is namedropped in The Rocky Horror Picture Show. Isn't everyone's grandmother a three-time BAFTA winner? But what makes this episode so terrific in our view is how enthusiastic Daisy and James were to talk about their parents and how much love and affection they exuded in doing so. This is the Rarified Heir Podcast. Everyone has a story. Take a listen.  

Today on another encore edition of the Rarified Heir Podcast, we are talking with Daisy Torme and James Torme, the children of singer/musician Mel Torme actress Janette Scott. This episode was a true pleasure to record as not only were there terrific Mel & Janette stories but also some great stories about out host, Josh's dad as well. You see Mel and Martin Mills were buddies from as far back as the fifties who were runnin' young guns in the entertainment business in New York during the Eisenhower administration. They formed strong bonds in their youth and it extended into old age…with some more-than-occasional bouts of silence for some misperceived slight or two. In a sense, our conversation was a familial one as it felt like the next generation was reliving their parents together with stories about everything from photography to chocolate, from childish pranks to hanging with Buddy Rich and Sammy Davis Jr and much more. We talk “The Christmas Song”, Mountain Dew, Night Court & even a little known movie of Mel's “Challenge to Survive” with William Shatner. What began as a Twitter message to Daisy became a lunch, then another lunch and soon it became a full-blown Rarified Heir Podcast episode. So take a moment, set your internal clock back and let's take listen to Daisy and James Torme talk about their father, The Velvet Fog, Mel Torme. Lucky for you that this is only part one! Part two is next week! Everyone has a story.

GGACP celebrates the birthday of co-host Frank Santopadre (b. February 7) with this ENCORE of a wildly entertaining mini-episode from 2019, as Frank tries to stump Gilbert (and Raybone) with some oldies but goodies from his collection of 1960s-70s-era 45s. Also in this episode: the poster boys of one-hit wonders, the versatility of Mel Torme, the genius of Jimmy Webb (and P.F. Sloan!) and the musical stylings of David Soul. PLUS: Johnny Rivers! Zager and Evans predict the future! Gilbert opens for Buster Poindexter! And the tragic tale of Badfinger!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Soon on the Really Charlie podcast on WNB One Radio & WNBOne.com mark your calendars for January 23 at 6:30 pm as we welcome Vocalist Chops Turner Turner also known as the Co-Host on Paul Santos Live Show. Renowned for his extraordinary singing and a heart of gold, Chops Turner Turner has collaborated with Maurice Starr, recorded numerous songs with his golden voice, including a remarkable rendition of Marvin Gaye's "Distant Lover" and the compelling "Hurry Back." His latest release, "Tell Everybody It's Christmas Time," written by Maurice Starr, adds to his impressive repertoire.Expressing his musical influences, Chops shares, "My favorite style of singing is from 'The Rat Pack' era, inspired by legends like Frank Sinatra, Sammy Davis, and Mel Torme." He emphasizes the importance of versatility, staying attuned to contemporary artists like Bruno Mars, Justin Timberlake, and Justin Bieber, to meet diverse audience preferences across rock, blues, jazz, R&B, and Hip-Hop. As he aptly puts it, "Versatility is the key. I need to be able to sing it all and adapt to the changing musical landscape." (Writer Sean McCarthy-Southcoast Today). Charlie Perry Host of the "Really Charlie" Podcast on WNBOne.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/charles-perry/message

Wanna know how jazzy a show tune can get? Join AJ and Johnny as they answer that question while reviewing "Surrey With The Fringe On Top"! We'll discuss versions by Blossom Dearie, Mel Torme, Miles Davis, Sonny Rollins, and TWO new-to-us artists: Angela De Niro, and Joe Farnsworth.

     You've had too much egg nog, your dog ate most of the bacon and you keep refreshing the water bowl for your artificial tree but it doesn't seem to get any greener. Christmas is a time to spend holidays with family and friends, the Queso Cowboy has had major dental work done but stills speaks with the velvet tomes of Mel Torme. After a lively discussion about artificial trees we discover that the TableMaster has a seventeen-foot tree set in the main foyer of his estate.      Next was a great discussion about your favorite Christmas movie. Everyone had excellent selections and it was all going along fine until we asked Kelly because little did we know or expect “Kelly's” favorite movie would be a chick flick starring Hugh Grant, yes that's correct “Kelly's” favorite Christmas movie is “Love Actually” a bonafide chick flick, we're all stunned and still aren't sure how to react. Enjoy!!!

Once Mutual finished running the last of the Lewis-directed Jay Kholos episodes of The Zero Hour on March 14th, 1974, they went dark for six weeks. They were busy completely changing the format. Now, one star would be featured in five different anthologies during a week. The show returned on April 29th. The first week's star was Mel Torme. “Bye Bye Narco” was the first new script produced under Mutual's umbrella. Cleveland Plain Dealer, June 16th, 1974 “Rod Serling, master writer of the mysterious and macabre, is playing a game of suspense with the good earth. On the side, he serves as host of The Zero Hour, a weekday radio mystery series beamed by the Mutual Broadcasting System. “Serling's feelings about the recent upsurge in radio drama prompted a call to his rural home. It soon became apparent that he is disappointed with radio drama and TV. “Serling made it clear that he has nothing to do with the writing or producing of the twenty-five minute dramas. "I've caught the show about three times. One was passable and two I would have flunked off the air. What they're trying to do—and they may succeed—is a show that is contemporary. But it sounds campy.” “Serling said, "The same thing applies to The CBS Radio Mystery Theater. It has to be relevant stuff for 1974. Short of that, why not resurrect old Shadow recordings? So far, I have yet to see either show relate to our time, either in story or technique. if they're selling us nostalgia, they've succeeded. It's thoroughly reminiscent of radio thirty years ago.” “I'm not bad rapping it,” he said. “It's just not what I expected. I realize the economics of the situation. I wouldn't want to spend my time writing a provocative radio drama and get a check that would buy me a carton of cigarettes. Radio drama currently has the value of an antique." “Won't it change for the better? “I don't know," Serling said. “I have no idea. I'm frequently wrong, anyhow. I thought Nixon would be out of office by now. And I thought Sonny Liston would be heavyweight boxing champion for 20 years.” “Summing up his feelings about radio and television, Serling said, “I feel the same way about radio as I do television as an art form. It doesn't rise to the occasion like it should...although television occasionally has.” “Radio today is more of a display case than an art form.” — Raymond P. Hart The Zero Hour in the new format ran thirteen additional weeks before being canceled after the July 26th, 1974, episode. In total, one-hundred-thirty episodes of The Zero Hour were produced. Most can be heard today.

Doug Stone talks to jazz musicians about life, music, recent and upcoming performances, equipment and current events on this Tenor Talk Podcast recording. A different jazz musician is featured in each episode.  This episode features Dan Nicholson and was recorded March 27, 2020. Born in North Carolina, Dan Nicholson has spent the last 20 years as an active saxophonist and educator in Chicago, Illinois. After studying with Jack Wilkins at USF and Bunky Green at UNF, Dan would began work with such greats as Joe Williams, Mel Torme, Arturo Sandoval, and John Pizarelli with the Disney Grammy All American College Jazz Band. Dan moved to Chicago in 1998 and has remained an in demand sideman while teaching at Elmhurst University in Illinois.Learn more about Dan here: https://www.youtube.com/channel/UCLK2X7qayF4rz95pd_BN2uQ https://youtube.com/playlist?list=PL7kMuikSH6hb4DCdI4KDTasHJftaAPcrU Let's connect: Website: https://www.dougstonejazz.com/ Instagram: https://www.instagram.com/dougstonejazzsaxophone/ Facebook: https://www.facebook.com/profile.php?id=100089874145057 If you want to learn more about jazz improvisation and be part of the Doug Stone Jazz community get on our email list! https://www.dougstonejazz.com/about Head over to the Doug Stone Jazz Shop for some fun jazz merch: https://www.dougstonejazz.com/product-page/just-play-the-changes-long-sleeved-shirt #dougstonejazz #jazz #podcast #musicianlife #musicians #tenorsaxophone #jazzmusicians #jazzinterview #musicianlife

Welcome to Episode #112 of "The Other Side of the Bell", a podcast brought to you by Bob Reeves Brass. In this episode, John talks with Wayne Bergeron and Jeff Bunnell about their recently released album called "Homage" by the Los Angeles Trumpet Ensemble.  We hope you'll enjoy their conversation as well as the album. Join us at Dillon Music, November 9-11 for valve alignments and mouthpiece consultations. Email sales@dillonmusic to schedule an appointment! About the Los Angeles Trumpet Ensemble Album "Homage"  The recording scene in Los Angeles has a long history of great and highly versatile trumpet playing. For the most part, though, these trumpet players rarely get a chance to be featured. In 1957, Tutti Camarata arranged and produced a record called Tutti's Trumpets that featured some of the top session trumpet players in Los Angeles at that time. That was over 60 years ago. Wayne Bergeron and Jeff Bunnell started talking about doing another recording that would feature some of the current session trumpet players here in Los Angeles. Wayne suggested recording a trumpet ensemble CD to Jeff and they loved the idea and thought a choir of trumpets would work well. With that, the Los Angeles Trumpet Ensemble came into being. In choosing the music Jeff arranged for this CD, he wanted to pay tribute to some of the film composers who are part of the Los Angeles recording scene (and who write so well for the trumpet), and also pay tribute to some of the great trumpet players of the past and present.  Jerry Hey graciously wrote the arrangment for the last track, the iconic Al Jarreau tune "Roof Garden". Los Angeles Trumpet Ensemble Members Jeff Bunnell Wayne Bergeron Jon Lewis Dan Fornero Marissa Benedict Dan Rosenboom Rob Schaer Larry Hall Dan Savant About Wayne Bergeron Wayne Bergeron is enjoying a career as one of the most sought-after musicians in the world. Studio sessions, film dates, international touring, jazz concerts, guest appearances, and clinics keep him busy not only in his hometown of Los Angeles but worldwide. Born in Hartford, Connecticut in 1958, Bergeron came to California at age one. He originally started on French horn but switched to trumpet in seventh grade where he found a natural upper register ability. Bergeron credits his junior high and high school teachers, Ron Savitt and Bob Smith, for molding his talent into practical working skills. Bergeron first caught the ear of many when he landed the lead trumpet chair with Maynard Ferguson's band in 1986. Bergeron can be heard on Maynard's recordings of Body and Soul, Big Bop Nouveau, Brass Attitude, and The One and Only Maynard Ferguson.  Bergeron demonstrates daily why Maynard remarked, “Wayne is the most musical lead trumpet player I've had on my band.” As a sideman, Bergeron's list of recording credits reads like a “who's who” in contemporary jazz and pop, running the stylistic gamut from Ray Charles to Green Day. Other names include Katy Perry, Beyoncé, Barbra Streisand, Michael Buble, Indina Menzel, Leslie Oden Jr., Herb Alpert, The Jonas Brothers, Burt Bacharach, The Dirty Loops, Seth MacFarlane, Natalie Cole, Celine Dion, Seal, Diana Krall, Tito Puente, Christina Aguilera, Dianne Reeves, Michael Bolton, Earth Wind & Fire, The Pussy Cat Dolls, My Chemical Romance, The Mars Volta, Chicago, Rosemary Cloony, Diane Schuur, Barry Manilow, Lee Ann Womack, Lou Rawls, Eric Marienthal, Kenny G., and David Benoit. Bergeron has worked on over 500 TV & motion picture soundtracks. A partial list of film credits includes Red Notice, Turning Red, Soul, Bob's Burgers, Ford vs. Ferrari, Toy Story 4, Frozen 1 & 2, The Lion King (2019), The Secret Life of Pets, Wreck it Ralph 2, Crazy Rich Asians, Sing 1&2, Moana, Frozen 1 & 2, Get On Up, Toy Story 3, Monsters University, High School Musical 3, Get Smart, Superman Returns, The Simpson's Movie, Dreamgirls, Hairspray, Mission Impossible 3, Ice Age 2, Spiderman 1 & 2, Team America and South Park. Bergeron's featured trumpet solos can be heard on the motion pictures West Side Story (2021 Steven Spielberg), La La Land, Sing, The Incredibles 1 & 2, Rocky Balboa, The Secret Life of Pets 2, Rough Night, Jazzman's Blues, Vacation Friends, Ted 2, Minions, Minions 2:The Rise of Gru, Spies in Disguise, Jersey Boys, The Green Hornet, The Interview, Despicable Me 1, 2 & 3, Duplicity, Princess & the Frog, The Perfect Game,, Hey Arnold (the movie), The Rat Pack, Child Star, Aladdin King of Thieves and High Crimes and  many others. Numerous TV credits include Academy Awards, Golden Globe Awards, SAG Awards, NBC, ESPN & TNT sports themes, American Idol (2001-02), Emmy Awards, Grammy Awards, Animaniacs Reboot, Family Guy, American Dad, Simpson's, Wonderful World of Mickey Mouse, The Cleveland Show, Green Eggs and Ham,  Jeopardy, America's Funniest Home Videos, Will and Grace, Phineas & Ferb, Emperor's New School, Mouse Works, Have a Laugh, House of Mouse, King of the Hill, Futurama, Buzz Lightyear, Hercules, and Hey Arnold. Bergeron's greatest love is playing lead in big bands. He has recorded and played with some of Los Angeles' most respected bands including Gordon Goodwin, Arturo Sandoval, Pat Williams, Sammy Nestico, Jack Sheldon, Chris Walden, Tom Kubis, John La Barbara, Bob Florence, Joey Sellers, Ray Anthony, Bill Watrous, Bob Curnow, and Quincy Jones. After being behind the scene for so many years, Bergeron stepped out on his own with his first solo effort, You Call This a Living?  This debut project earned him a Grammy nomination in 2004 for Best Large Jazz Ensemble, as well as rave reviews from fans and press worldwide. Bergeron's second CD, Plays Well With Others, released on the Concord Jazz label in 2007, was met with the same acclaim. Bergeron's most current (and personal favorite) CD, Full Circle, was released in January of 2016.  Bergeron performs various events for the Hollywood Bowl summer season. He has done guest appearances with the L.A. Philharmonic, The New York Philharmonic, Cleveland Orchestra, Dallas Symphony, Taiwan Symphony, and Tokyo Philharmonic. Bergeron is a National Artist for the Yamaha Corporation of America and is co-designer of the YTR-8335LA trumpet and YFH-8315G Flugelhorn. Bergeron also designed a series of trumpet mouthpieces with Gary Radtke of GR Technologies that are available through Bergeron's website. Bergeron was mentored by legends Uan Rasey, Bobby Shew, Warren Luening, Gary Grant, Rick Baptist, and George Graham. Bergeron hopes to inspire a new generation of young players and enjoys his work as a clinician and educator. “Nothing makes me feel more accomplished than hearing a young musician say that I inspired them or had a positive influence on their life. For me, that's the real payday.” Bergeron is currently on faculty at California State University Northridge. Perhaps Grammy winning composer and bandleader, Gordon Goodwin said it best, “Wayne is a once in a lifetime lead trumpet player.” About Jeff Bunnell Trumpeter Jeff Bunnell has enjoyed a successful career in many musically diverse settings. He is an active member of the Los Angeles freelance performing and recording community, and has been for over four decades. The many artists Jeff has worked and recorded with include Mel Torme, Ray Charles, Bob Dylan, Natalie Cole, Michel Legrand, Johnny Mathis, Tony Bennett, Robbie Williams, Paul McCartney, Seth MacFarlane, Rosemary Clooney, Paul Anka, Lou Rawls, Barry Manilow, Dianna Krall, Frank Sinatra Jr., David Sanborn, Diane Schuur, Brian Wilson, Tom Harrell, Steve Lawrence, Maroon 5, Michael Feinstein, Debby Boone, Andy Williams, Patti Austin, Brian Setzer, Jack Sheldon, Steve Allen, Marilyn McCoo, Engelbert Humperdink and Shirley Bassey. Jeff has toured with Ray Charles, Horace Silver and Poncho Sanchez. He has performed with many of the top big bands in Los Angeles including Tom Kubis, Bill Watrous, Alf Clausen, Johnny Mandel, Bill Holman, Arturo Sandoval, Gordon Goodwin's Phat Band, Les Hooper, Pete Christlieb, Pat Williams, Wayne Bergeron, Steve Spiegl, Carl Saunders and Bernie Dresel. He has recorded with many of these big bands including Ray Charles, Tom Kubis, Bill Watrous, Les Hooper, Pete Christlieb, Jack Sheldon, Brian Setzer, Wayne Bergeron, Steve Spiegl and Bernie Dresel. Jeff played the lead trumpet chair with the Carl Saunders Big Band, the Pete Christlieb Tall and Smail Band, and the Steve Spiegl Big Band. Currently Jeff plays one of the solo chairs with both The Tom Kubis Big Band and Bernie Dresel's BBB. Jeff has worked with many of the orchestras in Southern California including The Hollywood Symphony Orchestra, The Hollywood Bowl Orchestra, The Long Beach Symphony, The New West Symphony, The Pacific Symphony and The Pasadena Pops Orchestra. As a session player Jeff has played on hundreds of feature film and television soundtracks. His film credits of note include “Star Trek Beyond”, “Jurassic World”, “The Incredibles”, UP (Oscar winner for Best Soundtrack), and “O.J. Simpson: Made in America” – where Jeff is a featured soloist throughout the film (Oscar winner for Best Documentary Feature). His television credits include “Pennyworth”, “The Simpsons”, “Family Guy”, “Why Women Kill”, “American Dad”, “Parks and Recreation”, “Alias”, and “The Clone Wars” animated series. He has also played on hundreds of television and radio commercials, as well as the Academy Awards and the SAG Awards. As a musical theater pit musician, Jeff has played on more than 60 Broadway shows including “West Side Story”, “Phantom Of The Opera”, “Dream Girls”, “Into the Woods”, “Sophisticated Ladies”, “Jesus Christ Superstar” and “Titanic”. He has studied trumpet privately with Joe Alessi Sr., Boyde Hood, Bobby Shew, Claude Gordon and Uan Rasey. Jeff is currently a faculty trumpet and jazz instructor at The Master's University. Jeff is also a Bach Artist & Clinician. In addition to playing the trumpet, Jeff also works as an arranger, orchestrator, and conductor. He has orchestrated for film and television, as well as other areas of music such as Broadway Shows, cruise ship music and theme park music. His original big band charts can be found in the books of Arturo Sandoval, Bill Watrous, Jack Sheldon, Ron Jones, Emil Richards, Steve Spiegl and Bernie Dresel. He has published three transcribed jazz trumpet solo books through Aebersold Jazz. Links Listen to this episode online: https://bobreeves.com/blog/la-trumpet-ensemble/ Watch the video of this episode on YouTube: https://youtu.be/H2-vc5QQLpk    

Cuarta entrega dedicada a picotear en la colección “The Mod Jazz Series” (Ace Records).(Foto del podcast; Johnny Griffin)Playlist;(sintonía) FREDDIE McCOY “Collard greens”KING CURTIS “Memphis soul stew”MEL TORME “Right now”RAY CHARLES “Heartbreaker”JOHNNY GRIFFIN and MATTHEW GEE and THE SOUL GROOVERS “Twist City”KAREN HERNANDEZ “I heard it through the grapevine”BILLY STEWART “Secret love”TRINI LOPEZ “Unchain my heart”ANDY WILLIAMS “House of bamboo”GOOGIE RENÉ and ORCHESTRA “Caesar’s pad”TAMIKO JONES and HERBIE MANN “The sidewinder”JEAN DUSHON “Feeling good”EDDIE JEFFERSON “Psychedelic Sally”FRANK FROST “My back scratcher”LES MCCANN “Burnin’ coal”MOSE ALLISON “Wild man on the loose”DAVE PIKE “Jet set”LEE JONES and THE UNFORGOTTEN TWO “I got to see my baby (part 2)”JACKIE IVORY “Do it to death”Escuchar audio

The annual Halloween show, Songs include: At the Devil's Ball, I Got the Jitters, Bloody Razor Blues, You Got Me Voodooed, Punky Punkin and What's Halloween? Performers include: Rosemary Clooney, The Peerless Quartet, Helen Gross, Don Redman, Mary Ann  McCall and Mel Torme.

  This episode of Backstage Jazz features an interview with legendary jazz pianist and former Denver Public Schools Music Educator, Neil Bridge. Joining him is his wife and Muse, Vocalist/Collaborator, Karen Lee Bridge. Neil Bridge is a legendary Jazz Piano player, composer, arranger, band leader, musical director, and former DPS music educator. Throughout his illustrious career, he has accompanied Mel Torme, Anita O'Day, Nancy Wilson, Dakota Staton, Johnny Smith, The Mills Brothers, Clark Terry, Sonny Stitt, and many more. He is well known for accompanying Johnny Smith (legendary world-class guitar player) for 30 years. Karen Lee is currently fulfilling her passion for singing. Her dreams came true, and she finally fulfilled her lifetime wishes of singing professionally. Karen explains, “ I have been enrolled in the “N.B.A.O.M.,” for 30 glorious years. It's the “Neil Bridge Academy Of Music!” The music featured in the shows includes “Grooving' in the City” and “Come Back To Me.” Both tracks can be found on the new album In The Key of Music (Neil Bridge & The Pride Featuring Karen Lee Bridge), which can be purchased here: https://neilbridgemusic.bandcamp.com/album/in-the-key-of-music. The Bridges will perform with Quintessence: Wayne Wilkinson Guitar), Mark Simon (Bass), and Todd Reid (Drums) at Dazzle on Friday, October 6, 2023, for a 7 p.m. show. Tickets are available here: https://www.dazzledenver.com.  For more info on The bridges, please visit: https://www.neilbridgemusic.com Thanks for listening, and please support the artists you hear by seeing them live and online. Purchase their music so they can continue to distract, comfort, provoke, and inspire --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

Roy Wiegand is a versatile and renowned trumpet player in the Los Angeles area.  He has toured and performed with such well-known acts as The Who, Bobby Womack, Tom Jones, Mel Torme, Harry James Orchestra, and Wayne Newton. Roy has also shared the concert stage with artists like Shakira, Michael Bolton, Jeffery Osborne, Amy Grant, Matchbox 20, John Tesh, Carly Simon, and Art Garfunkel.  Roy has also worked in the Hollywood studios playing on various recording sessions for motion pictures and television, including The Nutty Professor, the theme for America's Funniest Home Videos, and countless commercial jingles. Roy is also an active member of the freelance scene in Los Angeles for over 40 years, covering many different styles from Jazz, Dixieland and big band, to production shows, and first trumpet in the Desert Symphony for over 20 years. In addition to his trumpet performance prowess, Roy is a very active athlete, participating in many competitive endurance running and cycling events as well many runs/rides for various charitable causes.     

In this special episode of the podcast jD, Pete, and Tim sit down with Gord Sinclair for a broad conversation about touring with the Hip, the future of Rock music, and his new record In Continental Divide. Stay tuned for the big announcement following this episode. If you know you know. RateThisPodcast.com/ghtthTranscript0:00:00 - Speaker 1Well, we're really, really thrilled that you could take some time with us today. This is a pretty exciting And this is my pleasure. 0:00:07 - Speaker 2I appreciate it I. 0:00:09 - Speaker 1Don't know if you know what the premise of our podcast is, but I want to give you a. Snip it so you get a. You get an understanding of who these two gentlemen that you're, that you're with, are sure. 0:00:21 - Speaker 3Maybe you should tell them at the end JD, let's get the Way. 0:00:28 - Speaker 1No way, no way, i'm sorry out. So I did a podcast called meeting Malcolm s and it was about pavement and I met these two guys in Europe last year Going to see pavement a bunch of times and we got talking about music And I really love the way they talk about music, the thoughtfulness and the way they understand it and so, naturally me being a very big, tragically hip fan your, your name came up and Them being from Southern California, one by way of Malaga, spain, and one by way of Portland, portland, oregon. Now They hadn't, they hadn't had much experience with you. So I thought, dreamt up this idea of the podcast taking them through your discography, one record at a time, so that The listeners can experience, can experience what it's like to hear your music for the first time. Again, cool. 0:01:27 - Speaker 3It's been. It's been a journey man, it's been really. 0:01:31 - Speaker 2What do you guys up to now like record-wise? is it still work in progress or we have just released up to here. 0:01:39 - Speaker 1So Okay. Here's a fun fact for you. Did you know that if you take your entire catalog and Release them, starting on May 2 4 weekend, and release one a week for the summer, it ends on Labor Day? 0:01:58 - Speaker 2Oh, no, I didn't know that you're your catalog. 0:02:01 - Speaker 1Your catalog is perfect for the summer man. 0:02:03 - Speaker 2Okay, great, well, that's, that is kind of appropriate. For sure We're, you know, sir It. We're unlike Southern California. We kind of lived for the for the three or four months where You can actually sit outside and play guitar with it, your fingers falling off, you know. 0:02:21 - Speaker 4That's, that's definitely me. in Portland, oregon, we had the the soggy a spring I could remember in my 22 years here. 0:02:28 - Speaker 2Yeah, yeah, that's a great town. We we played Portland a bunch, the Aladdin theater, remember that place. 0:02:36 - Speaker 4Yeah, it's an awesome theater. 0:02:37 - Speaker 2Yeah, it's great Yeah. 0:02:39 - Speaker 4Yeah, it was. It was a cool room. It was fun to play that. We'd love to have you back there with your your current gig. So it would be yeah well, it would be great. 0:02:48 - Speaker 2It would be great. Things have changed for the live music business. Unfortunately, Do it for the most true. 0:02:56 - Speaker 1Yeah, so for now, the tour, the tour that you're doing In Toronto and like Southern Ontario, yeah, is that? is that what we're expecting to see for now, or will there be more dates in the future? 0:03:10 - Speaker 2I mean it's still. It's still up in the air. I I'm certainly not averse to doing more dates, but we, you know, yeah, but, but we'll, but we'll wait and see. You know it's it's it's not an easy proposition. Taking the show on the road, i mean the expenses are kind of through the roof from, just in terms of putting the boys up. That's why we're staying pretty close to home. To start, not only on my band leader now, but I'm also a father. My, my youngest son, is Playing bass in the group and he's got a day job, so I got to get him back. It would be irresponsible for for me to have him run away to the circus like I did, you know. But what it needs to be seen, you know it remains to be seen. 0:04:03 - Speaker 1So how is that turn? turning around to your left or right and seeing your son, you know, in your familiar spot? 0:04:08 - Speaker 2It's, it's, it's, it's pretty great, i gotta say it's pretty great. He's a On his own. He is an amazing musician. All my, all my kids can play, but but he, this one's got a particular Ear and talent Guitar and piano or his principal instruments. He's not really a bass player But he can play just about anything. He's just one of these kids that can hear a melody on the radio or on record and sit down the piano and play it back to you. So, on that regard, it's really, really great to see him actually playing the. The flip side of it is as a He's a singer, songwriter in his own right and it's in the process of finishing a record that he did while he was at university, mcgill. And it's tough, you know, it's tough for young kids starting out today to get that, to get that leg up. You know that opportunity to that a group like ours had, you know where we, you know We were able to start playing gigs while we were in school, you know, and and kind of built it up from there very, very, very organically. We got better as we played more and and and as we played more, more people came and Then we got more gigs and it sort of snowballed from there and, like we like most, we started as a cover band And, crazily enough, like back in the 80s when we were playing, they didn't really want original artists in the clubs in Canada. So we would, you know, we would we were playing mostly kind of B sides of old stone songs and pre things and Kinks and stuff like that and then thrown in on, and so when we played at our song we said, oh that's, you know, that's from an old Damn record from from 1967, just absolutely bullshitting our way because there's some clubs that you had to write down your set list, make sure you weren't playing original material, bizarre. So. So now it's yeah, it's just a different scene. I'd love to see him working and playing, making it, taking a go at it. 0:06:18 - Speaker 4Yeah, i kind of feel like this day and age to Make it in a band and get on an actual tour That's further away than your closest region, it's like, it's almost like becoming a professional athlete. Yeah, you know, it's just like your chance. Yeah, getting that notoriety and getting embraced and carried through it, it's, it's just tougher. I have a close, close cousin of mine is in a band here in Portland and They're going at it so hard and you know they're lucky to get, i don't know, the six, six or eight West Coast swing. Yeah, and happy about it, but I tell you the cost for them and all that. Just like you said, it's, it's, it's, it's a tough, that's a tough go. 0:06:58 - Speaker 2Yeah, it's, it's. It's very much the same here. It's like anything, you know it, that You put a group together, you just, you get that, jones, you know, you do it for the love of it, and if you see a little glimpse of light at the end of the tunnel, it's enough to keep you going. Right, the one gig leads to the next, the next, but, but, boy, if you get continued roadblocks thrown up against you, it's a little demoralizing. And certainly up in Canada the live music scene Was in a tough spot even before COVID, and COVID really, just, you know, cut the head off the vampire It was. It was just made it so, so difficult, particularly at the at the early stage gigs, like in most downtown cores They've been. You know, the small rooms where it would be your first gig when you came to Winnipeg, or your first gig when you came to London, ontario, those rooms don't exist anymore. Yeah, you know, in fact I was talking to my agent a little while ago and Again, it's been a while since I've been out to Western Canada But he was saying that there's not really a gig in Vancouver and Calgary, you know, you know, in a 500 seat capacity and that's, and that's tough when you're just coming through town for the first time. I mean it's tough is on a regional level. If you're a young band story or a colonial, let alone From Kingston, ontario, you know, which is a real shame. I mean, the great thing about being from Canada, you know I The biggest obstacle to touring in this country Is actually our greatest assets, the sheer size of the country. You know, once you, once you kind of break out of your region and play in the crap little clubs around your hometown, then you've got eight, ten, twelve hours in some cases driving in between The, the gigs and you learn really early and really really quickly How to play. You know an empty room on a Tuesday night and a shithole on a Wednesday night With the object of getting to a win, a peg, you know, for Friday and Saturday night and maybe selling some tickets. You either You either fall in love with the lifestyle and the guys in your group or the gals in your group is the case. Maybe you're you bust up before you get you out of our problem, yeah, ontario. And so you get a lot of hearty souls that are doing it and then in the meantime, during all the traveling, you just develop this rapport with your bandmates and if you're a composer at all, it's great. You have so much time sitting in the band or sitting hotel room. You, just you're right, shoot the shit and Become what you become. It's true for musicians, it's true for crew people in this country as well. You know, you look at any international group and their crews are populated by Canadians. Because they have that experience, you learn how to travel. You know, get along with people in a confined space of a Band or tour bus, and it's a real asset that we have. The, fortunately, is getting more and more difficult. 0:10:17 - Speaker 3It's a bummer, because I love you guys you guys own your, i mean, and I we know this. I know this because We've pretty much gone through the, the majority of the discography, at least for the hip, and You guys really honed your skills of those Tuesday, wednesday night shittles, yeah, that you're playing To get you know, you can either take those is like Oh man, there's, there's five people here. What do we do? Like let's, let's, let's, let's treat it like a really tight rehearsal. Yeah, you know, whatever, and it it shows, at least from my perspective, on those records, those early records, and like to you guys just peak and just, you know, coast at 35,000 feet, so to speak. But it's funny you mentioned about the touring scene because I live in Malaga, i grew up in Southern California but I live in Malaga, spain and I We had a record come out last year and we're getting ready to do a second record And it's in the city center. They don't want anything original, they want stones, beatles, you know, maybe a couple Zeppelin tunes thrown in. They don't, they don't want they, they want cover bands, that's all they want. 0:11:39 - Speaker 2Yeah yeah, it's, it's tough, it's, it's a funny time And in a lot of ways I think it's a kind of a dangerous time from a cultural perspective. I mean, i, i'm a Stones fan and I'm a Beatles fan and I'm Zeppelin fan, you know, got it second hand from older brothers and sisters, you know. But but I, honestly, you know, i honestly believe that every generation needs their own stones. They need their. They need, like I grew up on the clash, right, you know, and the jam and and that was I was able to define Myself away from older brothers and sisters because of the tunes that I was like. And then, you know, and I've been Quite honestly, i've been waiting around for the next Nirvana and honest believing in my heart that's somewhere in the world, in some mom and dad's basement, there is the next Nirvana, working it and learning how to do it. I just, i really honestly believe it. I mean, again, i we're very fortunate Over the course of our career, touring, you know, we have Mums and dads that are bringing their kids to the, to our shows, and now those kids are, you know, so great, right, stealing to the hip and stuff, which is awesome. But but I worry, we're For Canada anyway, where that next hip is actually gonna come from. You know, and it's again, i think it's a cultural thing and, and you know, into your point about the Learning how to play the empty rooms, i mean That's what allowed us to. We were back and forth across Canada a number of times before we got the opportunity to Make that left turn and British Columbia and start playing in the United States, and it was literally like starting over. So by that point we were playing like larger clubs and doing really, really well. And then You know, you go down to Seattle and you're back to, you know, 20 to 50 people and and It's actually it's really informed our career. You know, we learned really early on to play to each other, it totally, and and how to play on stage and we always had this mantra we learned to play The hockey rinks like they were clubs and we learned to play the clubs like they were hockey rinks. You know, and Cool, cool. 0:14:08 - Speaker 4I love it. 0:14:08 - Speaker 2And we were really. We were also really really fortunate that we would go to a region like the Pacific Northwest In the States and, you know, at the club live and you could look out and you could see familiar faces, the folks that were really into it, like maybe it actually bought the records and you can see them in the first couple rows and and It was the same when we started in Canada. So we would change up the set every night. You know, try to throw in as many different tunes and we wouldn't open with the same tune, we wouldn't close with the same tune and to make it look like we were Not even look like we were trying, we were really trying to entertain these folks. You know, and you guys are all music fans and there's nothing worse than you know, you catch an act and you catch the, the acclater and the tour and it's like Hello Cleveland on the teleprompter. You know yes, agreed, agreed 100% and it's kind of like If you avoid phoning it in, consciously avoid phoning it in, then you're not phoning it in and You're not thinking about your laundry or the fight you just had with your partner. While you're out on the road You're actually engaged with your fellow musicians and particularly with the crowd. And, yeah, it's important to me as a music fan, you know, i just think it's really when there's still groups out there, you know, at the rink level, that do that, you know. 0:15:29 - Speaker 4Yeah, yeah, to comment quickly about your, your wish for the new Nirvana, like I think it's happening in in these sub capsules, like these regional areas. You know, i, i, i hear about bands doing a West Coast tour and doing in small clubs, smallish clubs, but also doing house parties along the way. And When I first heard this one band, i followed when I first heard they were doing, you know, in between, let's say, san Francisco and Eugene, they're doing house parties in Arcada, california, or Eugene, you know, south of Eugene or in Ashland is like. So they're doing house parties, like people are showing up and getting shit-faced and rocking out and in. To me It was kind of brilliant. It was very old-school feeling like you know, i remember stuff like this happening in the 80s, but at the same time I'm like, Well, if that's a way to hustle and get more fans to support you know, your, your venue climb, then that's that's just amazing. So I think it's happening with, you know, some of these kind of post-punk, kind of yeah, yeah, art rock bands. You know it's, it's happening, but it's it's so, it's so capsule-based, yeah. 0:16:45 - Speaker 2Yeah. 0:16:46 - Speaker 4So to break out of that, it's pretty tough. 0:16:48 - Speaker 2Yeah, i mean that that's my understanding of it as well that the first show I've got is part of a festival in our hometown called Spring Reverb and we again, it's a very, very local promoter who who's, you know? God bless them there. They're all in on live performance and they're they're they're like the Don Quixote's of music in this particular region And they'll do whatever it takes and there's tons of groups on the bill That I haven't heard before. It's and it's an exciting, you know, and it's a. It's a really, really good thing. But I think for your average music consumer, my age, it's like No one's trying to Pitch new music to me in any way. You know which is a real kind of drag. I, i have the dough to buy the records, but I don't know which ones to buy. You know, and it's I Still it's a. It's a bit of a problem. 0:17:47 - Speaker 4I'd love to send you a list. I'm bugging these two guys all the time. Hey, you gotta. You know. I told these guys all the time Hey, please, listen to this. There's one band in particular. I told them three times listen to it. Just make me a playlist. Maybe I'll listen to it later. 0:18:02 - Speaker 2And it's cool. It's never been easier to produce a record, like again when I started. Recording was expensive and you had to have a deal to do it and Someone had to invest the money in it, which, again, was maybe part of the advantage that we had that we did have some resources behind us with our first, even with our first DP, private resources and but you know that that patronage system is, i mean, kind of goes back to the Mozart days where you know folks that had the resources were able to Have house concerts, just happened to be in Palaces, right, right, but right, it's a good thing. I mean. I think you know the kids will find a way. It's just, it's just how, how to take it to the next level. I mean we, when we first started touring the States You know it was still regional radio was a real big deal. It was just before Ronald Reagan and the clear channel days kind of ruined it so many ways where you And it's a real shame as a music fan and as an artist you know you could be stiffen in one market, but then you go to like Austin, texas, for us it's like holy crap, where did all these people come from? And then you find out that a local DJ's got an affection for the band and they're kind of, they're kind of paving the road for you in advance And it was such a great. It was a great time. It was a great time for music. 0:19:48 - Speaker 3It's about what's played to you, gord, because I mean I just want to you talk. You mentioned the Clear Channel thing, but it's about what you're exposed to. Like you said, the DJ, that it's got a, that's got a. You know, it's got an affinity for your band. I know, joke. I'm in California right now because I'm visiting family out here And I saw two of my best friends. One flew out from Texas, the other one lives out and he's got to play some Mexico but he works the train. And so we all met up and on separate occasions I told him about this podcast and we listened to, to some hip tunes and they're like who the fuck are these guys? And and like immediate fans. Strangely enough, and because we have the same like taste in music, the three of us we grew up we played in bands the others were five, but never, never were exposed to it. Yeah, Yeah. Never had it. 0:20:44 - Speaker 2Yeah, we would get that a lot over the course of our career. You know, we've always benefited from really passionate fans that that they would, they would get it, and just the old fashioned word of mouth thing, you know, we would come back through town like 18 months later and they, they would have brought all their friends and maybe got turned into some more corded music, but then they would see the band play live and it would all make sense Like live music is supposed to. It's just like, oh, i didn't even think of that song on the record, but when they play it it's like, ah, you know, that's my new favorite song. And then it grew just really, really organically. You know, we, we never really had the benefit in the United States of a single that was big enough to open up like a national type of market, but we, we, we maintained this ability to tour around this, the circumference of the country, you know, and, um, yeah, and you know, wherever they had a professional hockey team, we would do pretty good, you know, right? 0:21:56 - Speaker 4So And I will say, though, i read, i read, i read you know something about you guys playing the, the Fillmore in the nineties in San Francisco, and there was some comment. It was like, yeah, they always do, they always have a big crowd here because every Canadian in California comes to the show, you know. so it's, it's hard to, it was hard to get tickets because all the Canadians would show up. So, you know, i love, i love the story of how everything happened organically and you guys kind of started from playing small clubs and what have you, and cover songs and how it. that rise is just totally remarkable And it's, you know, it's obviously worthy of of sharing, which we're we're doing now. I I gotta fast forward and ask about this. this uh, air stream, though, and you guys recording and you tell us about that. So cool. We have our own fantasy in our minds right now. Well, it was really it was a. 0:22:54 - Speaker 2Again, it's a kind of a a, a, a, a, a, a, a, a, a, a, a. It's a COVID based reality that that I faced, sure, the group myself, we, we own a recording studio in in Bath, ontario. It's a residential studio. So, um, COVID, it was really super busy because you know, artists, musicians, could, you could test up and and you'd live there. You didn't have to go anywhere and and as long as our, our engineer, um, you know, was safe. It was, so I I couldn't get into it, you know, like I just couldn't. It was booked out and and, um, i had, uh, you know, i'd I'd put out a record called taxi dancers previously And it's one of those things like I had tunes left over from writing with the hip and stuff. She got years and years to do that and then. But COVID was great for me as a, as a songwriter. I was locked down in my home with my family and um, and I was writing and using the guitar and and and writing lyrics as my means of journalism journaling really And I wrote this record fairly quickly. My buddy James, who played with me a bunch, i produced a bunch of records for his band, uh, peterborough, called the Spades, and so we've just always had a really close relationship, And he is an engineer and producer in Peterborough, um, and had this great idea this summer, before COVID, and he bought up an Airstream trailer And he rigged it up so that he was able to strip down his gear from his studio space and transplant everything into the airstream and go completely mobile So he could record live shows and, you know, any sort of situational stuff which I thought was a genius idea. And then COVID hit and it kind of you know, it kind of went on the back burner and then we got talking and said, you know I got enough tunes for a record And you know he played with me on the first one and engineered, so we want to try to do it again. And so he literally recorded it in my house. We parked the airstream in the driveway and ran a snake underneath my garage door and plugged in And it was kind of great. I hoofed my family out and it was just. It was just James and Jeff Housechuck and I are a drummer And we kind of stripped things down. We learned all the songs as a three piece, you know, with me playing the bass and then and then tracked kind of pretty much live And Jeff and I would play together and put the bed tracks down to like a scratch guitar, scratch, vocal and kind of did it like that. It was really kind of wicked and and not only in office is recording is, you know. We learned the songs and we kind of had all the beds done in like three, four days. It was just bang bang bang, kind of like that It was. It was a lot of fun, like kind of old school recording. You know We trying to almost emulate it doing its 16 track. You know, really minimal overdubs and just to get that sound. You know we spent the majority of our time miking up the drum kit, you know, so that we could. You know the Jeff Housechuck the drummer is just a fantastic player, jazz guy, and he decided to slum it with us rock and rollers And he brought that, that complexity and the touch where you could actually hear the notes on the drums. 0:26:48 - Speaker 4Yeah, yeah. 0:26:49 - Speaker 2I could hear it. That's great. We actually ran into him. Ironically, james and I were supporting the group classic Canadian story. but our very first show of the tour that we were doing supporting the troops got snowed out. We got to the bottom of George and Bay and the road was closed. It was drifted in. and so we drove back down to Toronto and went to this great club called the Rex Jazz Club And and Jeff was playing with this organ trio you know like real kind of like just fantastic player and had a couple beers with him after and said, hey, do you want to want to do this If I ever make another record? he said yeah, tommy, and the rest is kind of his. Yeah, it's wicked, yeah actually the phone. 0:27:34 - Speaker 3Yeah, Yeah, No, like, for example, the song over and over. I think it is Yeah. Yeah you can tell. I mean you can tell throughout the record, but like that one in particular. Like, however, because once you lay down your initial, you know your drums and bass, your guitar, your bones you start playing with arrangements. And that I was wondering, like thinking about your process, you know how you go about recording and once you get stuff down, but the way you explain the Airstream that had to have promoted like some level of like creativity, like where you see something you're like let's do this, let's try this, because you're not sitting in a traditional studio, yeah, you know, with four walls, yeah, and a window and like do you know what I'm saying? Does that? Yeah? 0:28:29 - Speaker 2no, 100% That's. That's exactly what we were able to do, you know, within the confines of the house, like I have a small home studio, i have an open house, so I got curtains everywhere to kind of allow, you know, for not only privacy but to kind of the dead and the sound and stuff. We had to be creative with what we were doing and trying to figure out where we're going to put drums and what we're going to do with bass. And it was literally because of the way Jeff played And my natural affinity for records that were done in the 70s that we wanted to, instead of getting the big, boomy Bob Rock kind of like we're going to play in the cabin, smash, smash, smash drum kit, we wanted to, like Jeff plays with jazz sticks, that's, you know it's with. Well, let's put them in this curtained off room where everything's totally dead and and do the do the Jeff Emmerich, you know and kind of play and play and play and move the mic and move the stand until we got the kit sounding perfectly. And then in the meantime, you know, we're rehearsing And James is playing with us, and then we, you know, we get tempos down and stuff and, and you know, do a scratch acoustic guitar and vocal. So we know the arrangement And then Jeff or James would go out into the air stream and we counted off and Jeff and I would play together, you know. And the bass amp is elsewhere in the house So there's no chance of it bleeding in, but we didn't have walls or rooms or anything like that. And again, it was the same process. Most of the bass is not DI, it's, it's. I've got an old, you know, portaflex B15 from 1965, the James Jamerson right And it was kind of like you stick the right mic in front of it And it sounds like, it sounds like Motown, you know, and and that's that's kind of the way we get it And obviously I knew the tunes real well And Jeff is just such a good enough player. That was like, oh, you know, you kind of get it in one or two takes and go out and listen to it. And then again is a cool thing that we go to the driveway, to the air stream, which was really our control room, and you listen to it all stripped away or it's just bass and drums And it's kind of like, oh, it's got even without a lyric and without a guitar or even a music Or even a melody. It's like, oh, this sounds pretty wicked. It's kind of the inverse of being a songwriter where I've always believed if you can sing a song around a campfire, and it can, and it can exist on that level and subsist on that level. And it's like, oh, okay, this is a decent song. And we kind of combined those two ethos and to make this record And it was again, it was just because of the circumstances of making it that you know, we all had to be tested up And we, you know, it was just the three of us and we were also living together and eating together and drinking beer together and playing pool pool table in one part of my house And it was great. It's like it's the band camp, you know it's the hardest way to kill time 0:31:49 - Speaker 1you know, sure, gord, i have a question from somebody on Twitter. We let them know that we were meeting with you And he said it's Craig Rogers from Twitter. And he said, curious if he curious of Gord finds himself writing on guitar or bass more often, or a mixture both with this album and when he wrote for the hip. His bass playing is very melodic, so does he have a chord progression in mind first and then works out a baseline, or does the bass melody come first? 0:32:17 - Speaker 2I primarily write on on guitar, for sure, you know, certainly with the hit, even the songs I would bring to the hip, i would have written riffs and started out on acoustic guitar, not all the time Like they were. on occasion I would try to do something on bass. Bass is kind of tough to sit around on your own. Keep yourself entertained. You know you can play along and stuff. But certainly like my main contributions writing with the hip because we had developed that cooperative songwriting style where you know no one in the group would bring a finished idea to the band. You know we would basically throw out a riff, be it a guitar riff, in some cases a bass riff, and we would start playing together And Gord would start putting a melody on top and a lyric on top And it was great that way. As the bass player you'd like oh here are all these holes all like add melody in here. Or in a lot of cases it was from the middle of songs while you were jamming or sound checks. You know we were always playing And but yeah, it was great fun. I miss making music with those guys big time because it was as a songwriter. It's different now, like you, never when you're, when I was in the hip, you never had to finish an idea And even if you had writers, if you were stuck with something, we would get together frequently And someone always had something new and fresh And that would, you know, cause a light bulb to come on And it would suggest a change that maybe the guy that brought the briefing hadn't thought of it Meanwhile, gord just being Gord, he would be riffing on top and his melody would suggest a change that he would make. And it was great. I loved being in that band And I miss it because it's like you know, like, yeah, you start, i still start the same way, i start with the riff, but man, it takes a lot longer, you know, to come up with complimentary parts and the lyrics and stuff. And again, i credit Gord. I really, you know, i tried to bring some heft to the lyrics that I was writing for this project and my previous one as well, cause he's, you know, he set a pretty high bar as a songwriter you know and can't really you can't really put out a solo record I've said this a few times, but it's absolutely true Like you can't write. Yummy, yummy, yummy. I've got love in my tummy, you know, and feel good about yourself with some of the lyrics that Gord has, Yeah. So yeah, the writing's a, it's a. It's a, it's a fun, it's a fun process. I'm not a sit down and write every day kind of guy. I don't do the Stephen King and lock myself in my studio for 2,500 words a day. You know, I kind of sit around and watch hockey playoffs or baseball playoffs and with the guitar in my lap and noodling all the while, and then you're like, oh, and The cascade begins from there. You know, kind of not really paying attention to either, and It's amazing if you're receptive to the idea, It'll come from somewhere. It's, it's great fun, It's great fun. 0:35:47 - Speaker 1Gordon, i'm so thrilled that you laid down in 2020, you laid down get back again. Yeah, so it was. So we have a like a proper studio version of that song, because I gotta tell you, that was one of the hip songs that I came to early on and in my young hip career, and I was like whoa, this is something that's not on the record. It's like this is like a bootleg, or this is so cool And I gotta I gotta wonder, though, how did it never end up on a record like that? It's such a phenomenal song. 0:36:17 - Speaker 2It's, it's a funny one. I mean that it was That's. It's an old song. I mean that was back from the day when we were we were kind of clubbing it, he just kind of in southeastern Ontario and and we were all learning how to write and we were Writing a little bit together. You know Gord Downey and I would and Paul were living together at a student house But yeah, and it it was kind of a mainstay when we would play live and it was in the running, you know for for up to here for sure as a song. But interestingly enough we We recorded a demo version of it. That was just dynamite. Like You know, the performance across the board is great, particularly by Gord, like he just sang the song beautifully. And it was one of those circumstances where the The, the guy that was helping us the demo, said, oh, that was really really great, one more time just like that and we'll run tape. And we're like, oh, what do you mean? you weren't running tape? and oh, tried it again and collectively we were so disappointed. You know that I don't know we never, we never seemed to Capture that vibe that we had on this unrecorded Demo. You know this is again, we were really young, we were still learning how to play in the studio where it sounded like us and Again it sounds old-fashioned and everything, but it was back in the day We recorded live like we would, you know, put the bass somewhere and you know, drums are in a booth and gorge in a booth And we were learning how to do it, but still get that feeling like with headphones on that, we know, you know It sounds like awesome. We're listening to each other Again and then, yeah, it just never. It just never made the cut. After that, i guess I mean there is a version of it somewhere, at least I thought we had reported it for up to here There is some kind of version of it somewhere. We're finding it Odd with. We've always been signed to Universal in various shapes or forms. We were signed to MCA back in the day. But the tracking down on old tapes, a little demo stuff And studio stuff, is proving very, very challenging from an archival point of view. Like stuff is You'd think it'd be, you know, t, hip or Or it would be alphabetized or the Dewey decimal system or something, but it seems pretty random and stuff is in different storage area Areas and our drummer John has just been. He's just been like a dog on a bone tracking down Material and just relentless trying to find stuff. We kind of process kind of started for us with Road apples and but we were still. We were only able to manage to find Two-thirds of the tapes. You'd think they'd all be somewhere together. You know, when we heard about that fire on the universal lot we hit the panic button like right. You know, wow is our? do you think some our stuff is in there? and then read the list in the paper and there was our name. You know, in between Mel Torme and the down Trop family singers, you know it's like oh crap, i hope we do, because that, that, because, to your point, that's exactly the kind of stuff that we were looking for. Turns out there were dupes and some of its backup in Canada. Definitely Yeah, it's a. 0:40:11 - Speaker 3I just I'd be remiss if I didn't ask a gear question What, what, what, what, what? what type of guitar do you do you like to sit in? Because when you're sitting watching a ball game and you're just noodling or you're just whatever like what's your go-to? 0:40:26 - Speaker 2I, honestly, i've got a. I've got a few favorites, in fact, like there's a song on this, this latest record called change your mind, i I bought a. I bought an old Martin D18, saw it. I bought it sight unseen because it's just always wandered one and down. I Picked it up and Literally pulled it out of the case and it became my main guitar for about a week and that was that that. I Written that song on it within Got probably a day or two, you know it. Just it felt right, sounded right. 0:41:08 - Speaker 1What's that? there's sort of like a dreamy stony sound on that song. 0:41:11 - Speaker 2Yeah, and I would credit the guitar. You know, i guess I I Have a lot of, i've got a lot of instruments laying around the house and I will, you know, i will, i'll trick myself and I'll keep one guitar With a capo on the second fret, you know, and thereby changing the key of the song. But you just, in certain cases, different chord shapes and different you know, composite chords, like you know, a D over G or whatever to sound different in a different key or it'll trigger something melodically and then that will Send it in a different direction. So I I kind of rotate them in and out. You know I I Got an old the first kind of cool guitar about was an old J 160, you know mid 50s old beaver of a guitar, and it's always out on a stand somewhere and I'll Pick it up and I'm playing. Right now I'm going out and playing this old, the ES 125, like a, like a hollow-bodied arched top, electric and And it's been laying around and it's just, you know It sounds kind of got a little more sound to it. Yeah, i just kind of believe in the magic of it. You know that it's just like oh, this, you know it's rules right and sounds right in the. The tones of these older instruments, to my ear anyway, are so nuanced that that each one has a different character and Suggests different things, you know, and some chords sound better on them than others. And yeah, it's so, so it's cool. I like I say, i trick myself and I mix it up. 0:42:50 - Speaker 3That's the per. That's the perfect answer. Had you said this is the guitar, that's trick Bs and me bulls it me right on that school Yeah my question was more what kind of beer we were you drinking where you were recording and the Not as young as I used to be, so I. 0:43:13 - Speaker 2There's always a case of the in this kicking around here, for sure, but I'm more of a light beer guy now. Unfortunately, i just I can't afford to Drink the loaf of bread like I used to when I was a young man. Live to tell it. 0:43:29 - Speaker 4I'm right there with you. Yeah, i'm right there with you, gord. 0:43:33 - Speaker 2Yeah, I'm pretty much a logger and a Guinness guy. 0:43:36 - Speaker 4Yeah, sorry. 0:43:49 - Speaker 1Well, I'd love to talk more about the. I'd love to talk more about the. The record sure. You gotta ask the video to man and we haven't touched. We haven't even touched on the video. 0:43:59 - Speaker 2Yeah, I'm glad you like it. I, i yeah, that's a friend of my, my youngest son's It's aspiring filmmaker and videographer and, obviously, videos on what there used to be. I'm like I'm a survivor of the MTV era where You just saw your recoupable account go up and up and up with your record company because you'd spend more money making videos And you would make the record. But it's. But he's a creative young guy having feral is his name and I I Was reading the newspaper And there was an article I can't think this one Facebook change just named in Metta, and Mr Zuckerberg had proclaimed that the future of the world, the future of reality, is going to be virtual reality. And They ran a little clip of the journalists were testing it out with the, with those goggles or that, whatever that is. I said, wow, this is the future of reality. The graphics are kind of shitty, you know, and and And I bounced it off heaven and I want to make this video about these tech guys that are kind of changing the way we interact with each other and getting rich in the process. And could we make a virtual reality kind of video for this song about kind of love in the VR world? and and man he ran with it. He was like I know exactly what you're talking about. 0:45:34 - Speaker 3And it's clear who everybody is. It's very clear who everybody is. 0:45:37 - Speaker 2He ran into a little problem with the record. Here it was, it was clear, still in the legal department And hit the panic button real quick. But we just, i think. 0:45:52 - Speaker 4You know, it's a good thing when that happens And it was fun. 0:45:55 - Speaker 2The song I think Google Guy has a bit of a sense of humor to it And yeah, i got when all that stuff was going on, when they were talking about how their algorithm there were purports to bring people together was actually the algorithm itself was based on making people butt heads, because there was more engagement when the conversation was contentious, as opposed to fluffy, puffy stuff. And that young woman, francis Hogan, really kind of went official with it. She kind of blew the whistle on these, these guys, and I thought right away to myself like oh, what would what would Joe Strummer do with a concept like this? You know, like you wouldn't know all have very much and try to call the guy out. And it was actually the last song I wrote for the record And it came real, real quick because I kind of got my dander up just a little bit. I'm not a social media guy. I understand how people do it. It's a great way to stay in touch with friends all over the world and stuff, and I get it. But God, imagine if you're Instagramming or Facebooking with your pals. But there was a artificial intelligence kind of trying to get you guys to fight about something you may have said to each other in high school and dragging that your relationship through them. 0:47:21 - Speaker 3I'm sure it's already there. 0:47:22 - Speaker 2Exactly, you know. I mean, i'm in a. I was in a band with my high school friends and, oh my God, we fought about crap that was 35 years old. You know, sometimes it was kind of anyway, yeah, so I yeah anyway, i glad you liked the video. It was fun to do. I'm going to do a follow up. He's one of them for call Yeah, but I don't know, i haven't seen it, yet I'm dying. He's okay. I'll be anxious to check that out. 0:47:56 - Speaker 4I enjoyed the video and the song and the song. Honestly it brought me. There's this kind of 80s feel to it, like it's it's interesting kind of the juxtaposition of I don't know had money for nothing Yeah yeah, and then what? Yeah, I'm not, i'm not sure, yeah it's. Yeah, it's reminded me of I don't know a couple of things, but anyways, the the video is great, and it was just I love the personification of the characters, and it's just. I just really related it. I was, i was in, i was in Italy recently. We were staying with family and I'm kind of a handy guy, so I was helping them do some stuff and I said, well, can you work and we get this? you know, we needed something in particular. My aunt there says, well, we could just order it on Amazon, and sure enough it was there the next day. And I'm like I mean Italy and Jeff, jeff, still knocking on the front door delivering, yeah yeah, it's not so I conveniently unbelievable. 0:48:57 - Speaker 2I totally understood. And obviously the pandemic Unbelievable fall for those companies because all the stores are closed, you know, but Massive. You know I'm from a small, small ish city. You know we got 150,000, 200,000 people here. You know, if the if you don't support your local hardware store owner, who may very well be your neighbor down the street, you know it's, it's kind of like the kind of the 100 mile Right Diet approach to living. You know where you live in a community and if you got a couple Extra bucks for things like I get it like people go to the big box stores to buy 10,000 rolls of toilet paper and junk like that. But but you know I go to the local record store and my local stereo shop and my local guitar store and we shop at a small little market And it's important, you know it's. It's important if, if the pandemic taught us anything, it was to kind of value community Because we would support each other more. And meanwhile, that's what I love to do. Devon's portrayal of the of. They call themselves founders. I understand the founders in the orbiting space station above, above the world, that slowly falling apart. And frankly, that's what I try to articulate in the, in the lyric of the songs, that we all know the reason, and the reason is really us. It's up to us, you know, to build community and to support community And and everyone wants to save a buck. I understand that stuff, but at what cost, you know. And what cost? Yeah, in many cases, like mm. Hmm, there's a lot of each cylinder vans all over North America as we speak, idling in people's driveways dropping off stuff that they ordered on Amazon last night, you know, and there's a cost to that, ever, you know. And that's what I was trying to articulate anyway, yeah, yeah. 0:51:21 - Speaker 4What I notice nowadays on, i mean, i'm in Portland, we're in the city, you know, downtown Portland is about three miles away, and what I notice is, when we don't have any deliveries, like, i'll just stop, i'm mostly home. I'll stop in the house and think, boy, it's actually been quiet today. You know it's. You have to wait for the white, the white noise to go away in order to I have a Kingston question for you. 0:51:45 - Speaker 1These gentlemen we are recording, we're doing a live finale for this podcast in Toronto on September 1st. So Pete is coming from Spain and Tim is coming from Portland and we're doing it at the rec room in Toronto. We're doing like a live podcast. There's going to be a standup comedian, There's going to be a hip tribute band, et cetera. But as part of their coming to Toronto, I've booked us a day in Kingston and I booked an Airbnb just yesterday. What are some? what are some hip, hip must see spots, Some you mentioned a record store earlier, a guitar store. What are some cool spots that we should go when we're? Yeah, I got to hit the store. 0:52:29 - Speaker 2You know what there's there's. so there's so many of it like this. First off, about Kingston. You know I'm born and bred and raised here. I went to university here and you know, like most young men, like Rob Baker and I, grew up across the street from each other And all through high school together and you know, gordon, Paul and I lived together in university And John was a little bit younger than us behind us, but all went to the same high school Parents, on to each other, and nonetheless, like most young men, we couldn't wait to shape the dust off this one horse town off our boots. You know, move on, or big city, and as it turned out, you know, our career took this home, over Europe and North America and traveling all the time And we kept coming back home And because it was home, you kind of learn to fall in love with where you're from By leaving it, you know, and you kind of realize, oh, there's no better place to come back to. And it still is a really, it's a really special place. Even even with the, the dearth of of live music venues and various cities and stuff, we still have five, six places in town that run live entertainment nightly. You know, and I think that's a big reason Kingston is as it is is produce so many great recording artists, you know Sarah Harmer, headstones and the Glorious Suns, and because they all came up the way I came up, you know, you kind of start playing in downtown Kingston and you play the bigger bar and the bigger bar after that. So there's, there's some great live music venues. The place I'm playing in town is called the, called the the Brune factory, which is kind of a multi multimedia approach to live. It's a film place, it's comedy, it's an office building for the local promoter during the day And it's, it's great. It's very DIY in town, you know it's. Also Kingston is an interesting place because it's a university town, a very large, very good university here. So we kind of punch above our weight for for restaurants and actually activities to do. We have a local symphony orchestra to symphony halls. You know it's just there's, it's a, it's a really special place And it's also it's right at the confluence of Lake Ontario and the St Lawrence River. So it's where the Great Lakes kind of funnel all down and the area just east of us is the start of the Thousand Islands, which is again it's we kind of take it for granted. But you guys coming from out of town, you know it's worth jumping on a, on a boat, and you've never seen anything like it. It's, it's just absolutely spectacular, you know, and it's, yeah, it's just really, really cool. There's so many great rooms. You know, the club that we played our first gig was called the the toucan, but it still exists, you know, and it's still still there. It's not a great place to see music or play music, but it's still running live. It's pretty wicked. There's another place called the mansion. That that they're again. They're fighting the good fight. They're trying to bring acts in all the time and get people a place to play. You know, and it's in, it's kind of great. It's kind of a great place to be. I feel very comfortable here. You guys are like it. 0:56:15 - Speaker 3If people, if they have places to play there and there's places that they make available, i mean there's. there's no doubt that's why the city thrives. 0:56:25 - Speaker 2I really think so as well, because people, obviously they people get used to live music being a viable option. You know, that was something that we experienced as young musicians First time we went to Europe. You know, it was again like starting over. But we got to the Netherlands And it was like that was. It was the case of like, where are all these people come from? how do they? but it's because the the nature of the culture and it was back in the CD days, when they were Ridiculously expensive, you know. So you'd have to pony up whatever 30, 40 Gelder's they were called back then so people would literally would go see a band play live before they would pull me up for the record, which was perfect for a group like us, because you know they huh, there are all these Magnificently tall people standing there and all speaking English, hang them boards, every word, yeah, it was great. It's all like. That's all about the amazing thing. I am such a such a believer. It's just so important. 0:57:36 - Speaker 1I I totally feel the song sometimes. Yeah, did you write that? like thinking, live in mind, like, like that feels like a live song. 0:57:46 - Speaker 2Yeah, i Did it's, it's, It's for sure, it's. There's an anger to it for sure, and it's it's not the easiest thing when you're sitting by yourself in a pandemic to To write an uptempo song. But like I, like I was seeing earlier, i was using that experience, i would close the sliding doors of our family room and, and, like everybody, there were moments during when I was locked down or where I was Wasn't quite myself. You know I was feeling. You know, being locked down in the middle of the winter in Canada is You get some dark days for sure, not only Physically dark days, but but the mood kind of translates on you and that's that's really what that song's about. And and I Attempted to turn that frown upside down and kind of went back to the old punk rock me, and It's basically like a confessional more than anything, because it was true, sometimes I felt like I was losing my mind, you know, and and sometimes you know, weed, weeds legal up here and and and so maybe sometimes I'm they've, you know, smoked a bomber a little too early in the day, you know, or maybe a little Bailey's in my morning coffee just to take the edge off. Even quite confessional about that as well. Much sugar in, yeah. 0:59:23 - Speaker 3That's really cool of you sharing my songs with us Share. 0:59:28 - Speaker 1I mean, for me it's been. It's been 38 years of you sharing songs with me, so I really appreciate that and Love that you made time for us today, well. 0:59:39 - Speaker 2I appreciate that. I appreciate that I'm a music fan as well and I and I I Made music with guys I know really well, guys I love, you know, and and We always took it really, really seriously and we always never took whatever success we may have achieved, we never took that for granted, you know, and we knew it was because of the people that liked our music and that supported the group and we, you know, with the past, you know Gordon Lightfoot. It was also such a huge believer in live performance and the love and respect for his audience. you know We came up, you know, very much the same way, just like getting our getting in front of people and, you know, and thanking them. You know, and being truly grateful and trying to allow the music to reflect our growth as people and but our commitment to making really good music and you know I'm I Love it I'm still trying to do it on my own. You know, i'd give anything to have gourd still here and be working my, my normal day job, you know. But but In no small way he still is. You know, he wouldn't have wanted any of us to stop playing, you know, and to stop making music and Yeah, and so I'm kind of doing it to honor him, but it's also it's because it's the only thing I know how to do. I kind of They caught into my, it's my, my yearly cycle of like, oh I'm, you should be making a record soon. I think the song start pouring out. Anyway, i'd go on, but I appreciate you guys for doing this and listening as it is intently, as I Listen to music like that's the way I listen to it too, you know I turn it up. 1:01:31 - Speaker 3Yeah, pleasure's our pleasure We've. 1:01:34 - Speaker 4we've got great time, so thank you so much. 1:01:37 - Speaker 2I'll get a list of places to see in Kingston, and there's some that would be great. It's a pretty, it's a pretty special. It's a pretty special little town. You'll, you'll get the vibe right away. You know, september is a great time of year. Kids are just coming back to school and the and the sailors are still hanging around. It's a touristy town. So there's a. There's a good, it's a good vibe here. It's a nice place to visit. I can't wait. Yeah, i can't wait awesome, awesome. 1:02:02 - Speaker 1Well, thank you so much Thanks for a pleasure, guys. 1:02:06 - Speaker 2I really really appreciate your time. It's fun. 1:02:08 - Speaker 3Yeah, thank you boys. 1:02:10 - Speaker 2Okay, take care, we'll see you real soon. Yeah, thank you. Support this podcast at — https://redcircle.com/fully-and-completely/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy