Podcast appearances and mentions of Mike Love

Jason Fraley interviews Mike Love, who fronts The Beach Boys at the Virginia Arts Festival this Sunday, a week after his induction into the Songwriters Hall of Fame. You'll hear their pair of conversations from the Kennedy Center in 2016 and "A Capitol Fourth" in 2018. This episode is labeled "Part 2" because "Part 1" featured the late great Brian Wilson, who died last week at age 82. Listen in our archives at BeyondTheFamePodcast.com. (Theme Music: Scott Buckley's "Clarion")

Nick teams up with Forbes music writer Jim Ryan to honor two towering figures lost last week: funk pioneer Sly Stone and Beach Boys genius Brian Wilson. Jim shares memories of past interviews with Norman Greenbaum, Jerry Harrison, and Steve Stevens, and breaks down two very different concert experiences—Wayne Newton in Michigan and AC/DC bringing the noise to Soldier Field. They also ponder Billy Idol's uncanny durability and confirm, once again, that Mike Love remains Mike Love. Later, Esmeralda Leon joins the mix to chat about city protests, brutal heat, and the growing list of celebrity doppelgangers. And yes, they attempt to solve one of the internet's dumbest mysteries: did Rob Schneider secretly swap sketches for suplexes and join the WWE? The truth may disappoint you. [EP 359]

In light of the passing of Beach Boys co-founder Brian Wilson, we feature some extraordinary audio of Brian from the mid '60s. Wilson is exuberant as he talks about listening to the radio and dissecting his favourite songs. He also explains why he decided to retire from touring with the Beach Boys in the mid '60s. We will also hear highlights from Christopher's late '80s interview with Carl Wilson, who pulls no punches when he speaks of Eugene Landy, Brian's guru who held an inordinate amount of control and power over Brian's life and career. In a 1995 interview, Mike Love talks about Brian's prowess in the studio, particularly his creation of the "pocket symphony", "Good Vibrations". We also discuss Brian's struggle with mental health and his comeback years later.

Today we have Mike Love from Bad Goblin Games and we talk about their great game Trailer Park Warlords of the Apocalypse, a unique game that covers a future where mutants and the remnants of humanity fight it out. 

Welcome back to another uplifting episode of the Rick's Rambles Podcast! This week, we're brewing up a great start with fun facts about coffee—where does it come from, and is a coffee bean really a bean? You might be surprised by what you learn! Next, we share a feel-good news story about how one birthday gift turned into life-changing adoptions for shelter animals. It's a powerful reminder of how small gestures can create big ripples of kindness. In our "Story Behind the Song" segment, we honor Beach Boys legend Mike Love following his recent passing, with a look at the timeless classic "California Girls"—how it was written, its cultural impact, and why it still resonates decades later. And as always, we round things out with our quirky and fun holidays of the week—because every day is worth celebrating! ☀️ Pour yourself a cup, hit play, and let's ramble!

Scott Wolf's estranged wife cuffed and claiming abuse? Just three days post-split, why Kelley Wolf was detained and caught on camera making explosive accusations. Then, HGTV's Tarek El Moussa in a Vegas brawl? The panic, punches, and new police video. Plus, John Stamos in tears as The Beach Boys say goodbye to Brian Wilson. Only ET's with Stamos, Mike Love, and Al Jardine inside their final days with the music legend. And Eric Dane emotional detailing how his ALS diagnosis is changing his life. Then, Ricki Lake unfiltered and dropping all the specifics about her recent plastic surgery. Plus, a “Felicity” flashback 23 years later. Keri Russell and Scott Speedman reunited and reliving their first meeting. And only ET is with Bryan Cranston's daughter turned breakout star on “The Pitt”. Taylor Dearden on the show's realness, and her dad's unforgettable acting advice. Then, Sydney Sweeney on the future of “Euphoria” and her character Cassie's wild storyline. Plus, a “Landman” exclusive. What's next for Billy Bob Thornton and Ali Larter. And a “Matlock” shocker…is Dolly Parton headed to the courtroom with the cast? Then, “Scream 7” spoilers?! OG star Matthew Lillard on his big return and the call that had him screaming. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Really saddened by the death of Brian Wilson. I will post a podcast based on an interview we did. In the meantime, here is Mike Love - falsely claiming since Brian died, that he himself "co-created all The Beach Boys music" - and who was not a particularly pleasant guy when I interviewed him in 1989. Judge for yourself. 'Love' is a funny surname in this context!

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Bob and Dean share statements from Mike Love and Al Jardine as they remember Brian Wilson and a “Leave It to Beaver” reunion. They also talk about Mel Brooks’ return to “Spaceballs” with Rick Moranis, things to do this […]

With the passing of legendary Brian Wilson, music icon and creative force behind The Beach Boys, at 82. We got into our archives from August 2022, when Conway spoke to Mike Love, Beach Boys singer and songwriter. He was a co-founder of the Beach Boys  with his cousins Brian, Dennis, and Carl Wilson and their friend Al JardineMike will be inducted into the Songwriters Hall of Fame Class of 2025: George Clinton, Rodney Jerkins & More.

A passenger plane headed to London crashed in India shortly after takeoff with more than 240 people on board. CBS News' Ramy Inocencio has the latest. A jury found Harvey Weinstein guilty of criminal sexual assault, but it will continue to deliberate on Thursday. CBS News' Nikki Battiste and CBS News legal analyst Caroline Polisi discuss the partial verdict and what to expect next.Meta has announced a series of measures aimed at targeting the companies responsible for "nudify" deepfake ads. They use AI-generated software to turn regular photos into sexually explicit images. CBS News' Leigh Kiniry has more. Legendary songwriter Brian Wilson, who co-founded the Beach Boys, died at the age of 82. CBS News' Anthony Mason shares a tribute to his life and legacy.In the "CBS Mornings" series "Rebuilding America," a rural community in Appalachia shows how a nonprofit group is investing in the next generation of workers by creating jobs and new opportunities. CBS News' Scott MacFarlane reports. Actor Noah Wyle stars in the medical drama hit show "The Pitt." On Thursday, Wyle and his mother, who has been a nurse for four decades, will be in Washington D.C. speaking with lawmakers about policy changes that could help health care workers. The two speak to "CBS Mornings" about support for medical workers. Nile Rodgers, chairman of the Songwriters Hall of Fame, speaks to "CBS Mornings" about the 2025 inductees. The class includes "Doobie Brothers" members Tom Johnston, Michael McDonald and Patrick Simmons, plus Mike Love of the Beach Boys. Actor Carrie Coon stars as Bertha Russell in "The Gilded Age," a hit series that is set in the late 19th century. Her character tries to break into high society by throwing around the wealth of her railroad tycoon husband. She joins "CBS Mornings" to talk about the series, which returns to HBO on June 22. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Columnist and film critic Richard Roeper joins Bob Sirott to talk about the death of Mike Love and the impact The Beach Boys’ music has on many generations. They also discuss the creative rivalry between The Beach Boys and The Beatles and why Brian Wilson moved to St. Charles in the 90s.

Beach Boys er historien om en families episke rejse gennem rock & roll, med sex, drugs og store skæg. Beach Boys består af de 3 Wilson brødre, Brian, Carl og Dennis, deres fætter Mike Love og skolekammerat Al Jardine. På overfladen var de den amerikanske drøm, de var lyden af sommer, strand og surfing, men … Læs videre "Beach Boys"

WGN Radio's Dave Plier celebrates the 1960's with Mike Love of The Beach Boys, Barbara Eden of “I Dream of Jeannie” (seen weekdays on Antenna TV), Micky Dolenz of The Monkees, Bill Mumy of Lost in Space, George Schlatter of “Laugh In” and iconic singer Darlene Love.

Founding member and lead singer of The Beach Boys, Mike Love joins Bo and Beth to promote their upcoming show with John Stamos at The Amp at Ballantyne this weekend. See omnystudio.com/listener for privacy information.

Message on "Our People" brought to us by one of our Elders, Mike Love. Mike is the Director of Human Resources at Stow-Munroe Falls City Schools.  Here at Momentum, he loves working in MoKidz and with our Amplify MoGroup of 6th thru 12th grade.  

May 21, 2025 ~ Mike Love from The Beach Boys checks in with Paul W before their show at Meadow Brook Sunday night.

May 21, 2025 ~ Big Beautiful Bill could get a vote as early as today. Danialle Karmanos tells us about being in Rome for Pope Leo XIV's inaugural Mass. Trump wants to build a Golden Dome missile defense system. Paul talks to Mike Love from the Beach Boys and the day's biggest headlines.

The Jokermen assess Mike Love's mercifully brief stint as frontman of Celebration and their three unforgettable albums: the Almost Summer Official Soundtrack, Celebration, and—last but not least—Disco Celebration.  WATCH "ALMOST SUMMER" LISTEN TO "CELEBRATION" LISTEN TO "DISCO CELEBRATION"

Kauai Festivals, Proper Standing Form & Capo Intonation TroublesVideo Podcast: https://forum.ukuleleunderground.com/threads/do-you-even-need-the-thumb-the-uu-podcast-164.169140/This Week, we're getting a recap of some of the Going-ons happening on Kauai and Oahu. Aldrine talks about the Kauai Ukulele Festival, the Hawaiian Culture that was shared at the festival, and the performers including his own Academy. Then the guys review the Brewers Festival which featured a Looping Performance from Mike Love (not from the Beach Boys). Aldrine gives a "Shoutout" to Sarah and Craig, and explains how his One Piece tournament went on Oahu. A viewer asks for Proper Form when Standing or using a Strap? Aldrine demonstrates how if you have Proper Form, you don't even need your thumb in the back of the neck to play. A couple more audience questions include how Aldrine keeps his picking nails nice, why ukes go out of tune when using a capo, and if pressing down too hard will cause grooves in the fret?

'69 AND THE CRIME ETCHED IN TIME -"When I Was 17, It was not a very good year"Rich BucklandWell. Here is something I've yet to get over in all the years since I first read the grisly details of Sharon Tate's murder in the Sunday newspaper's Parade magazine when I was just a wacky hippie teen and beach Boys fanatic.Cult-leader and killer Charles Manson and Beach Boy drummer and surfer Dennis Wilson were friends. For a while, at least. Good enough friends that Manson and his “family” of young women lived with Wilson for several months. Good enough friends that Wilson convinced the Beach Boys to include a song written by Manson, who had musical ambitions, on their album 20/20.Which brings me back to the main bad guy, Charles Manson. I knew as early as the Parade magazine article that Manson and his “family” had gone to Sharon Tate's house looking for Terry Melcher, who did not live there. And I knew that Manson's actual target was this Terry Melcher, who I also knew was Doris Day's son. As it turns out, he was an important producer in the music industry.Yes indeed gand. The 60's was not all Peace, Love and Understanding. In 1988, Melcher earned a Golden Globe nomination for co-writing the song "Kokomo" with John Phillips, Scott McKenzie and Mike Love. Recorded by the Beach Boys, the song was featured in the 1988 Tom Cruise film Cocktail and hit No. 1 (the band's career fourth overall) on the Billboard Hot 100. The single was certified gold with U.S. sales of more than one million copies.[18] Melcher later co-wrote and produced the band's 1992 studio album Summer in Paradise, which was the first record produced digitally on Pro Tools.Charles Manson- The White AlbumOne of the two great influences on the thinking of Charles Manson, along with the Book of Revelation, was the musical group the Beatles. According to Family members, Manson would most often quote "the Beatles and the Bible." The two influences were linked, in that Manson saw the four Beatles members as being the "four angels" referred to in Revelation 9. Revelation 9 also tells of "locusts"--the Beatles, of course--coming out upon the earth. It describes prophets as having "faces as the faces of men" but with "the hair of women"--an assumed reference too the long hair of the all-male English group. In Revelation 9, the four angels with "breastplates of fire"--electric guitars--"issued fire and brimstone"--song lyrics.Manson believed that the Beatles spoke to him through their lyrics, especially those included in the White Album, released in December 1968. Several songs from the White Album crystalized Manson's thinking about a coming revolt by blacks against the white Establishment. He interpreted many of the songs idiosyncratically, believing, for example, that "Rocky Raccoon" meant black people and "Happiness is a Warm Gun" was a song about getting firearms to carry on the&

Lead singer & songwriter of The Beach Boys, Mike Love, stops by the studio to chat with P&G about his favourite Toronto food, being a rockstar in his 80's and his dream collab!

Ahead of his concerts in Regina and Saskatoon, Evan welcomes Mike Love, original member of the Beach Boys, to the show!

Those of us who survived the 60s did have one invaluable take-away ... culture follows music.  While powerful anti-establishment lyrics did temporarily redirect the war industry, so we thought, those tumultuous times we're orchestrated to plant insidious seeds for a larger psyop that would later reveal itself. On this Alfacast we have a delightful musical talent making waves through music, but with eyes wide open.  Grant ‘Prezence' Ellman is a multi-instrumentalist, vocalist and producer from Sedona, Arizona. His 2021 truth-bomb dismantling the SCAM of “covid” and “government” was censored from Spotify within a week of release. Prezence is fiercely devoted to his mission of spreading TRUTH, FREEDOM and LOVE through radio ready records, vivid videos and lucid live performances. His studio work is completely self-produced, mixed, mastered, shot, edited and promoted, with a true DIY ethos and work ethic. On stage, Prezence captivates audiences by live looping multiple instruments, singing soulful vocals & live mixing — "dubbing" his loops. His innovative Ableton Live rig pays homage to dub pioneers King Tubby & Lee "Scratch" Perry as well as modern dub masters Umberto Echo and Laurent “Tippy I” Alfred. With heavy inspiration from the modern reggae of Midnite, Protoje, Jesse Royal, Kabaka Pyramid, Grant weaves elements of funk, jazz and rock into a sonic tapestry that is uniquely, and undeniably, Prezence. In just one false election cycle, he's released three albums worth of singles, videos to boot. His empowering energy has graced main stages at Rise & Vibes, Unison, Music & Sky, Totality, Viva Iriezona, Anarchapulco, The Greater Reset, where he's supported the likes of Steel Pulse, Tribal Seeds, Kabaka Pyramid, The Elovaters, The Movement, Mike Love and Dub FX — just to name a few. Prezence is grateful to have found his life's purpose making music and sharing that gift with others.  Please join this episode as we have an insightful discussion on the present state of our world, and if we're lucky, Prezence just may entertain us with an inspiring tune. Show links: https://www.prezencemusic.com/ Learn The True Nature Of Dis-Ease & How Our Bodies Actually Work: https://alfavedic.com/themyth/ Join Our Private Community And Join In The Discussion: https://alfavedic.com/join-us/ Follow our new YT channel: / @offgridelegance Get our favorite blue blocker glasses! https://alfavedic.com/raoptics Learn how to express your law and uphold your rights as one of mankind. https://alfavedic.com/lawformankind Alfa Vedic is an off-grid agriculture & health co-op focused on developing products, media & educational platforms for the betterment of our world. By using advanced scientific methods, cutting-edge technologies and tools derived from the knowledge of the world's greatest minds, the AV community aims to be a model for the future we all want to see. Our comprehensive line of health products and nutrition is available on our website. Most products are hand mixed and formulated right on our off grid farm including our Immortality Teas which we grow on site. Find them all at https://alfavedic.com​​​​​​​​​​​​​​ Follow Alfa Vedic: https://linktr.ee/alfavedic Follow Mike Winner: https://linktr.ee/djmikewinner

National Peanut Lovers day.  Entertainment from 2017.  1st internet domain name registered, Maine became 23rd state, Germany get Czechoslovakia.  Todays birthdays - Andrew Jackson, Carl Smith, Judd Hirsch, Mike Love, Sylvester Stewart, Dee Snider, Brett Michaels, Mark McGrath, Mark Hoppus, Eva Longoria, will.i.am.  Julius Caesar died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Peanuts - Little Joe & the ThrillersShape of you - Ed SheeranBetter man - Little Big TownBirthday - The BeatlesBirthdays - In da club - 50 Cent    http://50cent.com/Hey Joe - Carl SmithI get around - The Beach BoysThank You (Faletteme be mice elf again) - Sly & the Family StoneI wanna rock - Twisted SisterNothin but a good time - PoisonFly - Sugar RaySmall Things - Blink 182I got a feeling - Black Eyed PeasExit - Its not love- Dokken    http://dokken.net/

Hello Friends! I'm very excited to chat with Brian and Michael of the Lemon Twigs today about The Beach Boys and also Brian D'Addario's new solo album!  We discuss some deep Brian cuts as well as some "movements" from Mike Love!   So Tough!!!   Thanks for listening! Wyatt   Patreon Discord Instagram Twitter www.sailonsounds.com sailonpodcast@gmail.com

Carnie assured me she's never done an interview like this in her life, so it's an honor for Discograffiti's “Beach Boys: And Your Dreams Come True” Series to have had this opportunity. Here, then, is Part 2 of the longest interview Carnie's ever given, and on a subject she rarely talks about…her father's band, and what it means to her. She picked 7 of the most important Beach Boys albums of her life (plus a solo LP), which, if taken together, form a patchwork quilt that defines the essence of Dad as she knows him. We, of course, know him as Brian Wilson, and so rarely do we get to have such an intimate glimpse of him. Here's just a few of the many things Carnie discusses with Discograffiti in this podcast: What it was like living in Holland with her family in the early 1970s; How Carnie feels about Mike Love's demonized perception in the band; Brian's insane first anniversary gift to Marilyn; Carnie's amazing project with Dad that she wanted to produce, which he unfortunately rejected; And her feelings on Friends, Sunflower, Holland, and 15 Big Ones! Listen: linktr.ee/discograffiti I support a wife and a six-year-old son with Discograffiti as my sole source of income.  If you're a Beach Boys superfan like me, you'll want The Director's Cut of this episode. It's ad-free and features 13 additional minutes of essential material! Purchase it as a one-off or better yet…  Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher after having been a member for 3 months.  SUBSCRIBE NOW!: Patreon.com/Discograffiti CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   www.Patreon.com/discograffiti #carniewilson #wilsonphillips #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #vinyl #aljardine #thebeatles #brucejohnston #rock #petsounds #vinylcollection #goodvibrations #paulmccartney #surf #rocknroll #davidmarks #records #surfing #california #beach #surfrock #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue

In this episode of The Free Thought Project Podcast, Jason and Matt sit down with the talented and inspiring Grant "Prezence" Ellman, a multi-instrumentalist, producer, and vocalist from Sedona, Arizona. Grant's music and activism embody a rare blend of soulful artistry and deep philosophical reflection. Known for his dedication to truth, freedom, and love, Grant's music challenges the status quo and spreads empowering messages that resonate with anyone seeking a better, freer world. Grant's 2021 track dismantling the COVID and government scams was censored from Spotify within just one week of release, further highlighting the uphill battle faced by artists who dare to challenge mainstream narratives. His self-produced music has graced events like Anarchapulco and The Greater Reset, and he's shared stages with icons like Steel Pulse, Tribal Seeds, and Mike Love. With influences ranging from modern reggae to dub pioneers, Grant has crafted a sound that's uniquely his own—blending deep messages with unforgettable melodies. In this conversation, we explore the troubling symbolism and toxic ideas found in much of mainstream music today—things like promoting materialism, treating women poorly, and glorifying violence. Grant shares his insights on why artists like Sam Smith lean into satanic and dark imagery and contrasts it with his own mission to inspire peace and love through his art. We also dive deep into the story of Ross Ulbricht, as Grant has been an outspoken advocate for Ross's freedom. He explains why this issue is so close to his heart and how artists can use their platform to amplify messages of justice and liberty. To top it off, Grant treats us to an incredible live performance of his song, “Taxation is Theft.” Trust us, you don't want to miss this—his lyrics and energy are as powerful as his philosophy. This episode is a must-listen for anyone who values music as a vehicle for truth and transformation. Tune in and let Grant's words and music inspire you to see the world—and its possibilities—in a whole new light. (Length: 59:25) Prezence's Website: https://www.prezencemusic.com/ Follow Him on Facebook: https://www.facebook.com/prezencemusic33 Follow Him on Twitter: https://x.com/prezencemusic

In this Episode, is this the end for Barack Obama & Big Mike? Why Is Trudeau still pretending to be Prime Minister? Freeland is a crack-pot! Elongate! How Liberals have gone from loving their Tesla's to hating the man who built them. This Episode is Sponsored By: www.lesdeliceslafrenaie.com  IG: @deliceslafrenaie @lafrenaiebrossard The Drive By® Podcast is Brought to you by: www.ownspace.com *the views and opinions expressed on this podcast are of the speakers and do not necessarily reflect the views or positions of paid sponsors. The Drive By-Music-Intro/Extro https://open.spotify.com/track/2tAF0OfAhHdY76D9yCZ0T7?si=12de8dcd0d904211                                    

George Clinton and The Doobie Brothers are among the new members of the Songwriters Hall of Fame. The AP's Jennifer King reports.

Mike Love is a singer, songwriter, and co-founder of the Beach Boys. In 1961, Love, alongside his cousins Brian, Dennis, and Carl Wilson, and their friend Al Jardine, defined the California sound of the 1960s as the Beach Boys, co-writing hits including “Good Vibrations,” “California Girls,” and “Fun, Fun, Fun,” while weaving the themes of youth, surfing, and romance into their songs. He was one of the band's vocalists and lyricists for the entire career of the Beach Boys; Love played a crucial role in the group's vocal arrangements, adding a popular doo-wop sound and R&B influences. An inductee into the Rock and Roll Hall of Fame, he went on to revamp the Beach Boys in 2011, announcing the band's 50th Anniversary Tour, release five solo albums, and publish an autobiography titled Good Vibrations: My Life as a Beach Boy. ------ Thank you to the sponsors that fuel our podcast and our team: Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ Vivo Barefoot http://vivobarefoot.com/tetra Use code 'TETRA25' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

Det er ikke lett å få spikret rumpa til Thomas fast i studiostolen. Men endelig lyktes det igjen. På episodebildet har dere ham forkledd som Mike Love fra The Beach Boys, ifølge ham "en av de verste folka i musikkbransjen noensinne".Vi snakker selvfølgelig om valget. Hvordan vant Trump, hvordan tapte Demokratene og hva mener vi om fremtiden. Men også om skumle folk som lurer bak den kommende presidenten, som vi er mer redd for enn the man himself. Samt om økonomisk urettferdighet og om feilslåtte kulturkriger. Men først litt om skinn.

Grab a cold one and kick back with Chaz n Schatz and Darren Paltrowitz of ⁠The Paltrocast⁠ and And The Podcast Will Rock Fame. While Darren may have written a bit about Van Halen, he's got a big warm spot for Rush. Yes, it's a case 5150 in the ol' Haggis Shack, and the guys have a blast getting to know Darren and his passion for music and the "nice guys" in Rush! Hear all about: Talking with people like Joey Kramer, Gene Simmons, Yngwie Malmsteen, JB Smoove, Bruce Johnston and Mike Love and more Ways in which Van Halen and Rush are similar, some may surprise you A bunch of alleged bad behaviors by rock stars that will make you shake your damn head The short list of bands that have had issue with Rush, and the goofy reasons for the rifts What he really thinks of that Alex Van Halen book, whether you wanted to know or not How to creep out your celebrity neighbors and Maya Erskine In a world of mean bands, it's nice to rediscover Rush What it means to do an Adam Sandler cameo, how it speaks to your humanity How the spirit of Rush remains unmatched in all of music The Wheel gives us War Paint off 1989's Presto. The voting take a turn for the unexpected, like that's never happened before...though we don't think they'll be stormin' the podcastle over it. And hey, we don't want you to forget rushvault.com and our friends at RushIsABand.com, as well as our sponsors Danforth & Pape and Podcastle.ai too. The Scratch List - go see these bands and scratch that itch to hear Rush music live! UK Scotland ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Moving Pictures Scotland⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠RushFest Scotland⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ England ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Leoni Jane Kennedy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ North America USA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YYNOT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Second Contact⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Steel Revenge⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Solar Federation⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Accidental Breakdown⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rush Archives⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mood Lifters⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Lotus Land⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dumb Love⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Vapor Trail⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rash⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Discs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠A Farewell To Kings⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠Analog Kids⁠⁠ Canada ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠New World Men⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠2112⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YYC⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ South America Brazil ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠RushFest Brazil⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Rush news, general nonsensical disorderly conduct, lack of regard for correctness or truth, and reckless endangerment of your whole-brain. This is one of two of the only podcasts dedicated to increasing opioid release in your anterior insula, your anterior cingulate cortex (ACC), and your posterior cingulate cortex (PCC), in addition to the basal ganglia and the thalamus...and all that that implies.   Some thick North Jersey accents and they give you some royalty-free sound effects and movie clips too - what more do you need to indulge your urge to scratch?!  Join us - you know where to scratch - blah, blah...RushRash.

In this episode, I interviewed Angela Saini with Dr. Mike Love. Angela is a prominent author interested in bridging science and society. Her works include the fantastic books: Inferior: How Science Got Women Wrong and the New Research That's Rewriting the Story Superior: The Return of Race Science The Patriarchs: The Origins of Inequality

The Jokermen welcome Eric Slick to the program to discuss the final Beach Boys record of the 1960s, an album haunted by Charles Manson, Van Dyke Parks, and Mike Love's libido. FOLLOW ERIC ON INSTAGRAM LISTEN TO "NEW AGE RAGE"

The Knobs interview Sean Mackowski founder of Tallon Electric—right under our nose in Columbus, Ohio! Sean blew up after Josh Scott featured his "Dual Drive" on The JHS Show. You can't beat having two pedals in one and Sean tells us all about that and more! Hosted by Todd Novak with Tony Dudzik (founder of the Mike Love fan club) and Rob Chafe (Chaa-faaayyyyy) #guitarpodcast #electricguitar #pedaleffects #pedalfx #theguitarknobs #guitarknobs #guitarinterview #guitaramplifier #guitarpickups #guitarsetup #fuzz #overdrive #reverb #distortion #guitartips  Visit us at theguitarknobs.com Support our show on Patreon.com/theguitarknobs

This week's guest, producer, songwriter, and multi-instrumentalist Evan Taylor (Bernie Worrell Orchestra, Loantaka Records), brings us The Beach Boys' 21st studio album - and the last one under the group's name to be written and produced solely by troubled leader Brian Wilson - 'The Beach Boys Love You'. Released in 1977, this strange, at-times childlike collection of songs sounded like nothing else the band had done up until then. With raspier-than-usual vocals from the Wilson brothers and Brian's newfound infatuation with the Moog synthesizer, it left many fans/critics confused at the time but has since been recognized for presaging both synth-pop and new wave.  Songs discussed in this episode: Good Vibrations - Brian Wilson (Live on SNL, 1976); Distant Star - Bernie Worrell (Featuring Jerry Harrison); Take 5 - Bernie Worrell; What Have They Done To My Funk - Bernie Worrell (Featuring Bootsy Collins, Michael Moon Reuben, Ouiwey Collins, Buckethead); Be My Baby - The Ronettes; Let Us Go On This Way, Hey, Little Tomboy, Roller Skating Child, Mona, Johnny Carson, Good Time - The Beach Boys; Good Time, Shyin' Away - American Spring; Honkin' Down The Highway, Ding Dang, Solar System - The Beach Boys; Solar System - Alex Chilton; The Night Was So Young, I'll Bet He's Nice - The Beach Boys; Shoot The Curl - The Honeys; Let's Put Our Hearts Together, I Wanna Pick You Up, Airplane, Love Is A Woman - The Beach Boys; Wave From The WOOniverse - Bernie Worrell (Featuring Miho Hatori)

Bill rambles about cars shows, Mike Love talking shit, and workplace hens. Gametime:  Download the Gametime app, create an account, and use code BURR for $20 off your first purchase. Indochino:  Customize your summer style with Indochino. Go to www.Indochino.com and use code BURR to get 10% off any purchase of $399 or more. 

In this episode of The Bandwich Tapes, I had the pleasure of sitting down with singer-songwriter and multi-instrumentalist Matt Krahula. I recently stumbled upon his music and was instantly hooked.Matt Krahula, currently based in Honolulu, HI, is a true musical talent. He's the bassist for Grammy-nominated artist Henry Kapono, the lead singer of The Nightmare River Band, and one half of the Chamber Folk duo Beyond Hope, alongside Canadian singer-fiddler Sierra Noble. After years of touring across the mainland and immersing himself in New York City's vibrant music scene, Matt decided to plant new roots in sunny Waikiki. Since 2018, he's become one of Hawaii's most sought-after artists, securing residencies at some of Oahu's top venues and opening for major acts like Silver Sun Pickups, Frank Turner, Mike Love, Jerry Santos, and Keola Beamer.Matt's musical journey began at the Purchase Conservatory of Music, where he earned a Bachelor's Degree in Classical Music Performance on Upright Bass. Over the past 15 years, he's toured extensively, written, and recorded music, playing over 500 shows with his band. He's shared the stage with acts like Old Man Markley, The Last Bandoleros, Boy & Bear, Matt Simons, Tokyo Police Club, and Robert Ellis. His talent has earned him a nomination for an Independent Music Award for Best Alt-Folk Song of the Year, and his music has been featured in TV shows like 9-1-1 on Fox, American Pickers, Showtime's Gigolos, NHL broadcasts, and various commercial campaigns.Since making Hawaii his home, Matt has built a solid reputation as a dependable sideman. He's a full-time member of Henry Kapono's legendary Wild Hawaiian Band and the resident bassist for Hawaii's premier bluegrass band, Hook + Line, as well as the indie rockers, 7 Pairs of Iron Shoes. He's also had the privilege of playing with celebrated artists such as Sistah Robi Kahakalau (Grammy Nominee), Tavana, Josh Tatofi (Hoku Award Winner), Kimie Miner (Grammy Nominee), Alx Kawakami, John Cruz, Keola Beamer, and Brother Noland (of Pineapple Express fame).You can check out more about Matt at krahula.com.  Thank you for tuning in! If you have any questions, feedback, or ideas for the show, feel free to reach out to me at brad@thebandwichtapes.com. And please, spread the word about the show!Our theme song, "Playcation," was written by Mark Mundy.

Biden made an appearance to congratulate the Texas Rangers on their Championship, then Mike Love from The Beach Boys joined the show. Visit the Howie Carr Radio Network website to access columns, podcasts, and other exclusive content.

Listen to this week's No Spin News interviews with Trump pollster John McLaughlin, Mike Love and investigative reporter Robert Schmad. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight's rundown:  Hey BillOReilly.com Premium and Concierge Members, welcome to the No Spin News for Tuesday, July 30, 2024. Stand Up for Your Country.  Talking Points Memo: Bill discusses the United States reaching a $35 trillion debt milestone. House leaders announce a task force to investigate the assassination attempt on Donald Trump.  Daily Caller reporter Robert Schmad joins the No Spin News. Bill looks at The View's reaction to the Olympics opening ceremony. The Beach Boy's Mike Love joins the No Spin News. This Day in History: Jimmy Hoffa disappears.  Final Thought: August is approaching. In Case You Missed It: Read Bill's latest column, The Stakes For a limited time, get two of our classic mugs with a 25% discount. Our DOUBLE MUG DEAL includes a Stand Up For Your Country mug and a Team Normal mug, both in navy. ORDER TODAY! Election season is here! Now's the time to get a Premium or Concierge Membership to BillOReilly.com, the only place for honest news analysis. Preorder Bill's latest book, CONFRONTING THE PRESIDENTS, a No Spin assessment of every president from Washington to Biden. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a Text Message.Charles & Lisa delve into the history of two toxic band members who really show what it means to be a pain to work with:  Michael E. Smith of the Fall, and Mike Love of the Beach Boys.  Be sure to like, subscribe, rate, and leave reviews!  New Jackalope Tales podcasts every Wednesday! Become a J-Lope and follow us on social media. You can find us on Facebook, Instagram, Twitter, TikTok, and check out our YouTube page for more exclusive content!Produced by: Charles MooneyExecutive Producers: Charles Mooney and Lisa UmbargerOriginal Music by: Charles Mooney and Lisa UmbargerKazoo Solo by: Courtney Mooney

Send us a Text Message.Matt Krahula is a versatile multi-instrumentalist, singer-songwriter, and producer based in Honolulu, HI. He currently plays bass for Grammy-nominated artist Henry Kapono, fronts The Nightmare River Band, and is one half of the chamber folk duo Beyond Hope with Canadian singer-fiddler Sierra Noble. After years of touring the mainland and immersing himself in the vibrant New York City music scene, Krahula relocated to sunny Waikiki. Since 2018, he has become one of Hawaii's most sought-after artists, holding residencies at some of Oahu's top bars and clubs, and opening for major acts like Silver Sun Pickups, Frank Turner, Mike Love, Jerry Santos, and Keola Beamer.Krahula began his musical journey at the Purchase Conservatory of Music, earning a Bachelor's degree in Classical Music Performance on Upright Bass. Over the past 15 years, he has toured extensively, written, and recorded music, performing over 500 shows with his band and sharing the stage with acts such as Old Man Markley, The Last Bandoleros, Boy and Bear, Matt Simons, Tokyo Police Club, and Robert Ellis. He has been nominated for an Independent Music Award for Best Alt-Folk Song of the Year and has performed at renowned festivals like Summerfest, SXSW, and CMJ. His music has been featured in TV shows such as "9-1-1" on Fox, "American Pickers," Showtime's "Gigolos," "Comedy Bang! Bang!," and NHL broadcasts, as well as several commercial campaigns. Since moving to Hawaii, Matt has earned a reputation as one of the most reliable sidemen in the scene. He is a full-time member of Henry Kapono's legendary Dukes on Sunday Band, the upright bassist for Hawaii's premier bluegrass band Hook & Line, and the bassist for indie rockers 7 Pairs of Iron Shoes. He has also performed with Grammy nominee Sistah Robi Kahakalau, Tavana, Hoku Award winner Josh Tatofi, Grammy nominee Kimie Miner, Alx Kawakami, John Cruz, Keola Beamer, and Brother Noland of Pineapple Express.https://www.krahula.com/Support the Show.Thanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/

It's been 50 years since The Beach Boys released their chart-topping compilation album Endless Summer in 1974. The band's 2024 tour Endless Summer Gold celebrates the legendary Beach Boys hits featured on that album.  This week on Cultural Manifesto, Beach Boys vocalist and co-founder Mike Love will share his thoughts on the band's legacy, and discuss The Four Freshmen, an Indianapolis vocal group that deeply influenced The Beach Boys' sound.

It's been 50 years since The Beach Boys released their chart-topping compilation album Endless Summer in 1974. The band's 2024 tour Endless Summer Gold celebrates the legendary Beach Boys hits featured on that album.  This week on Cultural Manifesto, Beach Boys vocalist and co-founder Mike Love will share his thoughts on the band's legacy, and discuss The Four Freshmen, an Indianapolis vocal group that deeply influenced The Beach Boys' sound.

Mike Love talks new Beach Boys documentary; What you need to know about Memorial Day weekend travel; Charlamagne Tha God talks new book Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike Love talks new Beach Boys documentary; What you need to know about Memorial Day weekend travel; Charlamagne Tha God talks new book Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of the California Now Podcast, host Soterios Johnson speaks with Mike Love and Al Jardine, founding members of the most California band of all time, The Beach Boys. The two share insights into the band's legacy and discuss the brand-new documentary, The Beach Boys, streaming on Disney+ beginning May 24th, 2024.   “So much of our music was inspired by California itself,” Love explains during the first segment of the episode. Reflecting on the essence of the California Dream, Love highlights how The Beach Boys' lighthearted and carefree music resonates across generations and geographic boundaries. “Those songs evoke such good vibrations and such positivity. It's just miraculous that we're still able to create that good vibration to this day,” he shares.  Johnson then chats with Jardine, who shares stories about the band's early days and comments on the group's continuing appeal more than six decades after they started out. “[It's] without a doubt the songwriting genius,” Jardine says, adding that the band also owes much of its success to “the wonderful comradery and the family connection.”  Both stars conclude their interviews by taking the California Questionnaire, answering a lightning round of questions about their love for the Golden State.

Mike Love shares his journey as a musician and how he got into live looping. He talks about the importance of being present and connected with the audience during performances. He also discusses the role of meditation in his music and how it helps him stay focused and centered. Michael emphasizes the power of music to bring people together and create a shared experience. In this conversation, Michael Love discusses the importance of physical, spiritual, and mental health in music. He shares how he incorporates warmups, meditation, and fasting into his routine to stay connected to his music and take care of himself. Michael also reflects on the self-destructive tendencies that many musicians experience and the importance of self-care. He talks about the evolution of his music from arranging for a big band to performing with a stripped-down setup and the impact it has had on his songwriting. Michael also shares details about his upcoming album trilogy and tours. Check out Mike's music on the usual streaming platforms and on his website HERE https://mikelovemusic.com/ Keywords music, live looping, pedals, solo gig, meditation, presence, audience connection, music, health, warmups, meditation, fasting, self-care, self-destructive tendencies, songwriting, album trilogy, tours Takeaways Being present and connected with the audience is crucial during performances. Meditation helps Michael stay focused and centered while performing. Music has the power to bring people together and create a shared experience. Physical, spiritual, and mental health are interconnected and important for musicians. Taking care of oneself is crucial for sustained creativity and success in music. Arranging for a big band and performing with a stripped-down setup have influenced Michael's songwriting. Looping and using a loop pedal have allowed Michael to create dynamic live performances. Michael's upcoming album trilogy, starting with 'Leaders,' is a culmination of years of work and collaboration. Chapters 00:00 Introduction and Discovery of Michael Love's Work 01:36 The Start of Michael's Musical Journey 06:38 Expanding the Pedal Board and Experimenting with Effects 10:54 Improving Sound Quality and Control in Live Performances 15:20 The Importance of Presence and Energy in Live Shows 23:59 Incorporating Meditation into Performances 30:49 The Universal Power of Music 32:46 The Importance of Health in Music 36:22 Navigating Self-Destructive Tendencies 42:20 From Big Band Arrangements to Stripped-Down Performances 45:16 The Power of Looping in Live Performances 56:43 Introducing the Album Trilogy: 'Leaders', 'Teachers', and 'Healers' Support The Show And Connect! The Text Chat is back! Hit me up at (503) 751-8577 You can also help out with your gear buying habits by purchasing stuff from Tonemob.com/reverb Tonemob.com/sweetwater or grabbing your guitar/bass strings from Tonemob.com/stringjoy Release your music via DistroKid and save 30% by going to Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.