Podcasts about My Back Pages

(S4-Ep 5) The Byrds- Younger Than Yesterday (Columbia)  Released February 6, 1967, Recorded between November 28-December 8, 1966  Younger Than Yesterday marks pivotal in The Byrds' evolution, blending folk-rock, psychedelia, and early country influences. While not as commercially successful as their earlier albums, it received critical acclaim for its musical innovation and experimental approach. The album features standout tracks like "So You Want to Be a Rock 'n' Roll Star," which critiques the commercialization of rock music, and "My Back Pages," a reworking of Bob Dylan's classic. The band's experimentation with studio techniques, intricate guitar work, and contributions from Chris Hillman and David Crosby pushed boundaries within the folk-rock genre. The Byrds also explored jazz and country influences. Despite internal tensions and lineup changes, Younger Than Yesterday remains a key work, influencing the development of psychedelic rock and paving the way for future musical experimentation in the 1960s. Signature Tracks "So You Want To Be a Rock and Roll Star," "Have You Seen Her Face," "My Back Pages" Playlists   YouTube Playlist  Spotify Playlist Full Albums Full Album on YouTube , Full Album on Spotify

Richard Charkin has held senior posts at many major, and some minor, publishing houses in the U.K. over the past 50 years, including: Harrap, OUP, Pergamon Press, Reed Elsevier, Macmillan, Bloomsbury, and Mensch Publishing. He is former President of The Book Society, the International Publishers Association and the UK Publishers Association. His book My Back Pages, An Undeniably Personal History of Publishing 1972-2022 came out in 2023. The book has sold more than 3,000 copies, and is being translated into four languages. It took me a year to figure out what questions to ask him.  Just so you know, Richard has been very good to The Biblio File podcast over the years. Thanks to him I've landed all sorts of great publishing guests.  And John Banville! I'm grateful to him for this, and for his being so generous with his time and knowledge, sharing them as he has with me on multiple occasions during episodes that have dealt with, among other things, great publishers, the challenges facing the book business, and how to set up a small publishing house. I wrote this about him a while back: Richard does what all great publishers do. He pays attention to what's going on both in the world, and in the world of books. He pays attention to what people are doing and reaches out to them to learn more. He takes an interest. It's pretty simple. And pretty important. He also lets people know what he's up to. I got to know him through his blog. It gave me a wonderful glimpse into the daily life of a high-powered publisher - the workings of business, but also the workings of his mind, and occasionally his emotions… His writing invited and welcomed a human response.  I'm happy to have been able to re-connect with Richard again recently, this time via Zoom, to talk about the changes he's seen, and lessons he's learned, over more than 50 years in the book publishing business, something, more than incidentally, that he's been rewarded for recently in the form of an OBE.  It's good to see that his exemplary work in, and on behalf of, the publishing business - his “service to literature,” has been recognized.

ROGER McGUINN LOST INTERVIEWS EPISODE 1 The Byrds become Roger McGuinn (lead guitars and vocals), Gene Clark (tambourine, vocals), David Crosby (rhythm guitars and vocals), Chris Hillman (bass guitar and vocals) and Michael Clarke (drums). Columbia Records signed The Byrds in 1965 and they recorded their first number one hit, a Bob Dylan penned song, “Mr. Tambourine Man.” The Byrds continued to score big commercially with their 1965 classic that was adapted from the book of Ecclesiastes in the Bible, “Turn! Turn! Turn!” “I'll Feel a Whole Lot Better,” was another huge hit for the group in 1965 featuring McGuinn's trademark jangling 12-string Rickenbacker. “Eight Miles High” was The Byrds 1966 Top 20 Psychedelic classic and “Mr. Spaceman” reached #36 on Billboard's Top 100, both were featured on their Fifth Dimension album.” Dylan's penned, “My Back Pages” released in 1967 #30 and “So You Want To Be A Rock ‘N' Roll Star,” also released in 1967 was a #29 Billboard Top 100 hit. Gene Clark left the band in 1966. David Crosby and Michael Clarke departed in late 1967. In 1968, Gram Parsons was hired and The Byrds recorded their critically acclaimed release, “Sweetheart of the Rodeo.” Later in 1968, Hillman and Parsons left. In 1969, The Byrds recorded “Ballad of Easy Rider” for a film starring Peter Fonda and Dennis Hopper. McGuinn also co-wrote, “Chestnut Mare” with Jacques Levy in 1969, a song intended to be featured in a musical inspired by Henrik Ibsen's Peer Gynt. McGuinn led several Byrds lineups until 1973 when the original quintet reunited and then disbanded after the release of their 12th and final album Byrds. Roger McGuinn rejoined Gene Clark and Chris Hillman in 1978 and recorded three successful albums for Capitol Records. In 1981, McGuinn returned to his folk roots and began to tour acoustically as a solo artist. McGuinn, Crosby and Hillman performed as The Byrds in 1989 and 1990 and recorded four new songs for their box set released in 1991. The Byrds were also inducted into the Rock and Roll Hall of Fame in 1991. PURCHASE THE ROCK STAR CHRONICLES Series one By RAY SHASHO Available At Bookbaby.com And amazon.com CHAPTER ONE SPOTLIGHTS INTERVIEWS WITH MANY OF THE MUSIC LEGENDS WHO ARE NO LONGER WITH US THE HARDCOVER EDITION IS A BONAFIDE COLLECTORS ITEM! …Order yours today on (Collector edition) Hardcover or E-book at bookbaby.com and amazon.com   Featuring over 45 intimate conversations with some of the greatest rock legends the world will ever know.   CHRIS SQUIRE... DR. JOHN... GREG LAKE... HENRY MCCULLOUGH... JACK BRUCE … JOE LALA…  JOHNNY WINTER... KEITH EMERSON... PAUL KANTNER...  RAY THOMAS... RONNIE MONTROSE... TONY JOE WHITE... DAVID CLAYTON-THOMAS… MIKE LOVE... TOMMY ROE... BARRY HAY... CHRIS THOMPSON... JESSE COLIN YOUNG... JOHN KAY... JULIAN LENNON... MARK LINDSAY... MICKY DOLENZ… PETER RIVERA ...TOMMY JAMES… TODD RUNDGREN... DAVE MASON... EDGAR WINTER... FRANK MARINO... GREGG ROLIE... IAN ANDERSON... JIM “DANDY” MANGRUM... JON ANDERSON... LOU GRAMM... MICK BOX... RANDY BACHMAN… ROBIN TROWER...  ROGER FISHER... STEVE HACKETT... ANNIE HASLAM… ‘MELANIE' SAFKA... PETULA CLARK... SUZI QUATRO... COLIN BLUNSTONE… DAVE DAVIES... JIM McCARTY... PETE BEST WHERE HAVE ALL THE ROCK STARS GONE? Rock and Roll, the Blues, and Jazz are America's contribution to the arts, so why are we not fighting to preserve our own musical legacy and culture? Rooted from the early blues pioneers, the longevity of rock and roll is second to none. But strangely enough those legendary rock heroes that we were so accustomed to hearing every time we turned on our radios had mysteriously vanished from the mainstream. The music of the 1960's, 70's and even the 80's was an important juncture in all of our lives. So many of us timeline life's precious moments with the music we remember, when the music was so great, when the music mattered. The baby-boomer generation is financially imperative yet many of its entertainment standards have been renounced. One day, the plug was pulled on those legendary music artists. Hackers began stealing music across the internet. Online music stores popularized cheap digital singles and neglected to promote full-length albums. Radio stations changed formats to accommodate talk show radio jocks while rappers and electronic dance music menaced the airwaves. Notorious record companies began folding in droves. Record companies and radio stations that were once owned and operated by visionaries were now run by accountants and lawyers and the music world began promoting untalented wannabes. The economy plummeted, and radio stations became more concerned about how many consecutive commercials they could run instead of providing quality radio programming and entertainment value. Radio stations became corporate machines leaving no room for innovation. Throughout the 2000s, recording studios and live performances began using an audio processor called "Auto-Tune" to disguise off-key inaccuracies in vocal tracks. The device allowed virtually anyone without music skills to become a singer and new waves of mainstream radio stars were instantly fabricated. The business of music became stronger and more important than the art of music. For more than a decade, I've been on a rock and roll pilgrimage to help promote and save the greatest music the world has ever known. Before the internet and Napster, virtuoso musicians traditionally introduced their music by way of mainstream radio stations while anxious music enthusiasts hurried to their favorite record stores and purchased a copy of the artist's latest release. Talk radio wasn't popular because there was way too much great music to play over the airwaves. Advertisers didn't rule the airwaves, the music did. Rock legends toured the world to promote their latest albums and prices of concert tickets were extremely affordable. Proficient musicians, singers, and songwriters are what made the music so great. Support us on PayPal!

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.

#233 Quem é maluco suficiente para investir num podcast com apenas 13 ouvintes ? Essa semana, Júlio Adler, Bruno Bocayuva e João Valente conversam com Maurício Fagundes, Surfista, sonhador, sujeito que olha o copo meio cheio, família, churrasco no fim de tarde, chope gelado, brisa de terral no rosto - e empresário, coitado. O plano de negócio (Business plan!) da South to South era encher o tanque da Brasília e pagar os PFs (Prato feito) do final de semana no litoral paulista. Lá se vão 36 anos de olhos vermelhos de água salgada, sol e suor. Os solos de guitarra desse episodio são, Bob Dylan ao vivo com My Back Pages (participação do Roger McGuinn, Tom Petty, Neil Young, Eric Clapton & George Harrison!), True Sounds of Liberty com Flowers By The Door, Bloc Party com Like Eating Glass e, finalmente, NOFX, com Stickin In My Eye, Johnny Appleseed e Straight Edge. O tambor faz muito barulho, mas é vazio por dentro. Apparício Torelly, o Barão de Itararé --- Send in a voice message: https://podcasters.spotify.com/pod/show/boia/message

When Mongrel Dogs Teach by William J Burghardt https://amzn.to/49SFyZY What happens when a 45-year-old Baby Boomer goes back to teach high school and finds the students are more in touch with reality than his colleagues and supervisors? In a soldier's stance, I aimed my hand At the mongrel dogs who teach Not fearing I'd become my enemy In the instance that I preach -- Bob Dylan, "My Back Pages"

What happens when tragedy strikes repeatedly, and how does one's faith emerge from the darkness? Join me as I sit down with my sister, Michelle White, author of My Back Pages, and navigate through her incredible journey of loss, addiction, and redemption. Born in Burbank, California, Michelle's life was shaped by her father's musical career, her mother's struggles with depression and alcoholism, and the devastating loss of her father at just seven years old.As we unfold the heartbreaking events in Michelle's life, including the passing of her father, mother, and brother, we also delve into her own battles with addiction and bulimia. Through it all, Michelle's faith has been her beacon of light. In this episode, she shares her experiences with finding solace in the Bible and her pastor's teachings, as well as her miraculous encounter with a drug dealer who asked her if she believed in Jesus. Throughout our conversation, Michelle and I reflect on the transformative power of God's love and the importance of mentorship and accountability within the church. This powerful and inspiring episode is a testament to the resilience and hope found in one's faith, even in the darkest of times. Don't miss out on the incredible story of my sister, Michelle White, as she shares her journey of faith, resilience, and redemption.

Sam Paddor interviewing Rod Davis, the banjo player for John Lennon's original band, the Quarrymen. The Quarrymen Website: http://www.originalquarrymen.co.uk My Back Pages Website: https://www.mybackpages.org/

从山下达郎为冲浪纪录片BIG WAVE所作的配乐前往黄金海岸，在沙滩和椰林的陪伴下沐浴60年代兴起的自由爵士新风。- 聊天的人 -顾超（微博@天方乐谈超人，公众号“天方乐谈Intermezzo”）- 音乐 -[04:24] JODY[09:51] Please Let Me Wonder[16:04] My Back Pages[26:42] Mercy, Mercy, Mercy[34:10] Days Of Wine and Roses[40:57] I Love You, Porgy[53:03] 忘れられたBig Wave- 片头 -Harold Arlen / 武满彻 - Over the Rainbow- 垫乐 -Red Garland - Soul Junction喜欢并希望打赏本节目的听友，请关注官方微信公众号“天方乐谈Intermezzo”并在对应文章下赞赏投喂，加入「天方乐谈」听友群，请添加管理员微信号guchaodemajia。- logo设计 -五颜六色的大亮哥- 收听方式 -推荐您使用「苹果播客」、小宇宙或任意泛用型播客客户端订阅收听《天方乐谈》，也可通过喜马拉雅等app收听。- 互动方式 -节目微信公众号：天方乐谈Intermezzo听友群管理员微信号：guchaodemajia本节目由魔都电台与顾超联合制作。

NFL大实话继续爆肝更新（有没有一种不适应的感觉），为大家带来季后赛首轮的观后感。是谁让大西红柿绝望？谁成为了看台新宠？女王与骑士和公爵的故事发生在了谁的身上？新一轮占卜卦象如何？让我们一起进入新一期NFL大实话。MC：大西红柿 爆老师 大姨妈songlist：《My Back Pages》by 群星

NFL大实话继续爆肝更新（有没有一种不适应的感觉），为大家带来季后赛首轮的观后感。是谁让大西红柿绝望？谁成为了看台新宠？女王与骑士和公爵的故事发生在了谁的身上？新一轮占卜卦象如何？让我们一起进入新一期NFL大实话。MC：大西红柿 爆老师 大姨妈songlist：《My Back Pages》by 群星

Visit our website BeautifulIllusions.org for a complete set of show notes and links to almost everything discussed in this episodeSelected References:2:43 - Listen to Beautiful Illusions Episode 10 - Craft Beer Culture: A Personal History from January 20215:10 - Athletic Brewing Company6:43 - Listen the Beautiful Illusions Episode 19 - How We Learn Like A Scout: Critically Thinking About Critical Thinking from October 2020, which is centered around a discussion of two books: The Scout Mindset: Why Some People See Things Clearly and Others Don't by Julia Galef and How We Learn: Why Brains Learn Better Than Any Machine...for Now by Stanislas Dehaene7:36 - Listen and read “This is Water” (Farnam Street Blog) by David Foster Wallace8:18 - In his book, The Happiness Hypothesis, psychologist Jonathan Haidt characterizes the human mind as a partnership between separate but connected entities using the metaphor of the rider and the elephant - the rider represents all that is conscious and is the director of actions and executor of thought and long term goals, while the elephant represents all that is automatic, and often acts independently of conscious thought. According to Haidt, our problem is that we overemphasize the power and importance of our conscious verbal thinking and neglect the other components of our mind. In his book, he argues that we must improve our understanding of these divisions and learn to let them operate in harmony, not compete for control.8:33 - For more on “System 1” and “System 2” see  “Of 2 Minds: How Fast and Slow Thinking Shape Perception and Choice” from Scientifc American, excerpted from Thinking Fast and Slow by Daniel Kahneman15:46 - Listen to Beautiful Illusions Episode 08 - System 2, Superman, & Simulacra: Jeff's Amateur Philosophy from December 202017:59 - Listen to Beautiful Illusions Episode 11 - Darwin & The Dude: Darron's Journey to Poetic Naturalism from February 202119:38 - Seven and a Half Lessons About the Brain by Lisa Feldman Barrett21:58 - Listen to Beautiful Illusions Episode 03 - The Examined Life from September 2020 and see the “I know that I know nothing” Wikipedia entry24:09 - The Righteous Mind by Jonathan Haidt27:50 - Listen to Beautiful Illusions Episode 06 - What We Talk About When We Talk About Politics from November 2020 and Episode 13 - What We Talk About When We Talk About Politics Part 2: Just the Facts from April 202130:35 - See “Why Chimpanzees Don't Hold Elections: The Power of Social Reality” by Lisa Feldman Barrett (Undark, 2021) - “We all live in a world of social reality that exists only inside our collective human brains. Nothing in physics or chemistry determines that you're leaving the United States and entering Canada, or that an expanse of water has certain fishing rights, or that a specific arc of the Earth's orbit around the sun is called January. These things are real to us anyway. Socially real.”32:38 -  See “Moral Foundations Theory” (Conceptually), the Moral foundations theory Wikipedia page, read chapter 7 of The Righteous Mind which outlines Haidt's 6 moral foundations of politics, “Liberals and Conservatives Rely on Different Sets of Moral Foundations” (Journal of Personality and Social Psychology, 2009), and watch Haidt's 2012 TED Talk on “The moral roots of liberals and conservatives” (YouTube)35:13 - Listen to Beautiful Illusions Episode 12 - A New Enlightenment: The Age of Cognitivism from March 202135:38 - Watch the Statue of Liberty, Higher and Higher scene from Ghostbusters 2 (YouTube)37:54 - Listen to Beautiful Illusions Episode 15 - The Mind of Gatsby: A Look Through the Cognitive Lens from June 202141:19 - Listen to Beautiful Illusions Episode 17 - BI Book Club 1: The Reality Bubble from August 2021 where we discuss The Reality Bubble by Ziya Tong, and then follow that up with Episode 18 - Making Progress Better where we continue to explore themes raised in the previous episode45:29 - Listen to Beautiful Illusions Episode 04 - Too Cultured from October 202045:43 - Listen to Beautiful Illusions Episode 05 - It's Alive! from October 202046:46 - Listen to Beautiful Illusions Episode 16 - Partisan Pizza from July 202147:50 - We ate the Cheeseburger Pizza from Tipsy Tomato in Derby, CT, along with the Loaded Mashed Potato and Baked Stuffed Shrimp pizzas50:52 - Listen to Beautiful Illusions Episode 09 - Lying About Santa: Naughty or Nice? from December 202052:37 - Listen to Beautiful Illusions Episode 01 - Why It's Pointless to Start a Podcast in a Pandemic from September 202052:48 - Listen to Beautiful Illusions Episode 02 - Our Back Pages from September 2020, which was actually recorded in 2019 with the intention of becoming the first episode of Beautiful Illusions53:55 - Listen to “My Back Pages” by Bob Dylan and read the lyrics54:16 - Listen to Beautiful Illusions Episode 07 - Boxing Aristotle from November 202054:38 - Listen to the Brain Science podcast1:03:58 -  See Apple Podcasts Statistics and  “Why there really aren't 2 million podcasts” (Amplifi Media, 2021)1:07:05 - The Secret of Our Success by Joseph Heinrich1:07:43 - Slaughterhouse-Five  by Kurt Vonnegut This episode was recorded in October 2021The “Beautiful Illusions Theme” was performed by Darron Vigliotti (guitar) and Joseph Vigliotti (drums), and was written and recorded by Darron Vigliotti

This one is best viewed on YouTube. Ninety-four seconds of a two-day trip to Marseille, France.Hotel Terminus, Basilique Notre-Dame-de-la-Garde, graffiti, Mucem - Museum of Civilizations of Europe and the Mediterranean, scooters, Old Port of Marseille, and Château d'If.All production by Cody Maxwell. Opening song "My Back Pages" written by Bob Dylan. Opening song performed by Cody Maxwell. sharkfyn.com/maxwells-kitchen-podcast

On this week’s show, we conclude our two-part celebration of Bob Dylan's 80th. We'll hear more of my favorite covers of Dylan's best tunes, including selections from Rhiannon Giddens, Willie Nelson, The Byrds, Martin Simpson and some from Bob as well. Celebrating the legendary icon … this week on The Sing Out! Radio Magazine. Episode #21-21: Happy Birthday, Bob Dylan!, Pt.2 Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways Larry Campbell / “Ragtime Annie” / Rooftops / Treasure Brewer & Shipley / “All Along the Watchtower” / Weeds / BMG-Buddah John Renbourn & Wizz Jones / “Buckets of Rain” / Joint Control / Riverboat Brian Auger & the Trinity w/ Julie Driscoll / “This Wheels on Fire” / Open / Ghostown Bob Dylan / “The Love that Faded” / The Lost Notebooks of Hank Williams / Columbia Rhiannon Giddens / “Spanish Mary” / Lost on the River / Harvest Willie Nelson / “Heartland” / Across the Borderland / Columbia Larry Campbell / “Blind Mary” / Rooftops / Treasure The Byrds / “My Back Pages” / Younger than Yesterday / Columbia Nina Simone / “I Shall Be Released” / Just Like a Woman / RCA-Legacy Happy Traum / “Crash on the Levee (Down in the Flood)” / Just For the Love of It / Lark's Nest Peter, Paul & Mary / “Too Much of Nothing” / Late Again / Warner Brothers Martin Simpson / “Blind Willie McTell” / Vagrant Stanzas / Topic Bob Dylan / “Forever Young” / Planet Waves / Columbia Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways

Hoy Bob Dylan cumple 80 años. Semana Dylan que remataremos este vienes con Black Dylan, o versiones por grandes artistas de la música negra. He aquí una lista de las miles que podía haber seleccionado para hoy. Cada una de las canciones elegidas tienen jun sentido en mi vida de melómana y mi carrera periodística. No es Stevie Nicks, Dylan hecha reina del rocanrol. Guitarristas que hay que reivindicar: David T. Walker, Eric Johnson, Dave Mason… Rick Nelson dulcificando a Dylan. Quique González transportando a Dylan a la lengua de Cervantes sin perder un ápice de su identidad ni de la del propio Dylan. Maria Muldaur, Edie Brickell, Steve Forbert, Rick Nelson. DISCO 1 DAVID T. WALKER Lay Lady Lay (4). Nashville Skyline 1969 DISCO 2 BOB DYLAN Black Crow Blues (ANOTHER SIDE… - 2) DISCO 3 STEVE FORBERT Dignity (FORBERT - 11) Greatest Hits Vol. 3 1994 DISCO 4 MARIA MULDAUR You Ain't Goin' Nowhere (12) DISCO 5 STEVIE NICKS Just Like a Woman (11) Blonde On Blonde 1966 DISCO 6 RICK NELSON & The Stone Canyon Band Love Minus Zero/No Limit (21) Bringing It All Back Home  1965 DISCO 7 QUIQUE GONZÁLEZ ¿Es tu amor en vano? (Is your love in vain?) (12) Street-Legal1978 DISCO 8 BOB DYLAN & THE BAND All You have To Do Is Dream (CD 2 - 5) DISCO 9 EDDIE BRICKELL & The New Bohemians A Hard Rain’s Gonna Fall (BORN 4th Of JULY - Cara 2 Corte ) DISCO 10 THE DEL McCOURY BAND The Times They Are A Changin´ (SONG OF AMERICA - CD 3 - 3) DISCO 11 ERIC JOHNSON My Back Pages (3) Another Side Of Dylan 1964 DISCO 12 DAVE MASON All Along The Watchtower (4) John Wesley Harding 1967 DISCO 13 BOB DYLAN & JOAN BAEZ I Shall Be Released Live (THE BOOLEG SERIE Vol. 5 - Cd 1 - 11) Boston Music Hall, November 21, 1975 (first show) Escuchar audio

Jak přistoupila překladatelka Gita Zbavitelová k převodu Dylanových písní do češtiny? Jak působí jeho texty na čtenáře samy o sobě? A kterak si je vychutnat ideálním způsobem? „Byl jsem tehdy starší, teď jsem mnohem mladší,“ (I was so much older then, I´m younger than that now) zpívá Bob Dylan v písni My Back Pages. Jak se ale vyvíjel jako textař? A které etapy jeho tvorby k sobě mají nejblíže? Která témata jsou spjatá s jakým obdobím?

Bob Dylan ist unzweifelhaft einer der einflussreichsten Solo-Künstler der Popmusikgeschichte. 80 Jahre alt wird er im Mai 2021, seit 60 Jahren veröffentlicht er seine Musik. Angefangen hat er in den Folk-Clubs von New York. Schnell stieg er auf zum musikalischen Wortführer einer Gegenkultur, auch wenn Dylan selbst dies immer abgelehnt hat und immer wieder die an ihn gestellten Erwartungen enttäuschte. Was macht seine Kunst aus? Wie hat er sich über seine zahlreichen Alben weiterentwickelt? Wie wichtig waren seine Impulse Mitte der 60er Jahre durch die Hinwendung zur Rockmusik? Peter Urban schätzt die Lieder und Entwicklung des wichtigsten Jahrzehnts des Künstlers Bob Dylan ein, er erzählt von ersten Erinnerungen an die Lieder und vom Kauf der Single „Like a rolling stone“ - ein Song, den viele Kritiker für einen der wichtigsten der Rockmusik halten. Peter Urban und Ocke Bandixen im Gespräch über Bob Dylan und die 60er Jahre. Habt Ihr Lob, Kritik oder Anregungen? Schreibt gerne an: Urbanpop@ndr.de Peters Playlist für Bob Dylan (1962-1969) Bob Dylan (1962): Song to Woody The Freewheelin‘ Bob Dylan (1963): Blowin in the Wind, Girl from the North Country, Masters of War, A Hard Rain's a-Gonna Fall, Don't think Twice, It's All Right, Oxford Town, I Shall Be Free The Times They Are a-Changin‘ (1964): The Times They Are a-Changin‘, Ballad of Hollis Brown, With God on Our Side, North Country Blues, Only a Pawn in Their Game, When the Ship Comes In, The Lonesome Death of Hattie Carroll Another Side of Bob Dylan (1964): Chimes of Freedom, My Back Pages, It Ain't Me Babe Bringing It All Back Home (1965): Subterranean Homesick Blues, She Belongs to Me, Maggie's Farm, Love Minus Zero/No Limit, Mr. Tambourine Man, Gates of Eden, It's Alright Ma (I'm Only Bleeding), It's All Over Now, Baby Blue Highway 61 Revisited (1965): Like a Rolling Stone, Tombstone Blues, Ballad of a Thin Man, High 61 Revisited, Desolation Row Blonde on Blonde (1966): Rainy Day Women No. 12 & 35, Visions of Johanna, I Want You, Stuck Inside of Mobile with the Memphis Blues Again, Just Like a Woman, Most Likeley You Go Your Way and I'll Go Mine, Sad-Eyed Lady of the Lowlands John Wesley Harding (1967): John Wesley Harding, I Dreamed I Saw St. Augustine, All Along the Watchtower, The Ballad of Frankie Lee and Judas Priest, I'll Be Your Baby Tonight

#14 Estivemos no Azores Masters, testemunhamos o fogo eterno da competição, bebemos com Kong, tiramos foto com Layne, Bainy e Macca, surfamos com Cheyne, Richo, Simon e Sunny, planejamos muitos episódios e não conseguimos gravar um único. Aprendemos pouquinho mais com Phill Jarratt e Jamie Brisick, vagamos sem direção pela ilha mais bonita do planeta naquele dia e chegamos a lugar nenhum - como na vida. O podcast correu risco de acabar, vocês não permitiram, apoiaram, incentivaram e ajudaram a causa perdida da conversa líquida e salgada do Bóia. Nós, humildes e jubilosos, agradecemos! Trilha - The Hollies com a pérola do Bob Dylan, My Back Pages e Sometimes do firEHOSe --- Send in a voice message: https://anchor.fm/boia/message

Villancicos rockeros a cargo de December People. Hoy elijo tres del primero de sus cuatro cedés. "Merry Xmas" al estilo de John Lennon, "The First Noel" al estilo de King Crimson, "The Night Before Christmas" al estilo de Led Zeppelin. Luego terminamos el repaso del disco "Feedbach" de Rush, oyendo versiones de Buffalo Springfield, "For What is Worth" (Stephen Stills) y "Mr Soul" (Neil Young) y en medio "Seven and Seven is" de Love. Judith Mateo y Chus Joven hicieron "Brindaremos" especialmente para RNE. Judith también tiene su disco de versiones al que corresponden: "Nothing Else Matter" de Metallica, "Smoke on the Water" de Deep Purple, "Walk on the Wild Side" de Lou Reed y "Thunder" de AC/DC. Terminamos con dos versiones del "Acid Eaters" de los Ramones: "My Back Pages" (Bob Dylan) y "Have you Ever Seen the Rain" de Creedence Clearwater Revival. ¡Vivir para ver, punkies norteamericanos haciendo temas hippies o de protesta! Escuchar audio

OH SHIT IT'S SEASON FOUR! The newly re-christened Anhedonic Headphones Podcast (that's the name now) is back with a small batch of brand new, socially distant episodes to provide you with a brief respite from your own intrusive thoughts during the holidays and a pandemic winter. In the first episode of the new season, or 20th episode overall, Kevin welcomes illustrious guest and damn near lifelong friend Liz Johnson into the virtual building. Recording remotely from her home in Iowa, the episode was put together with the magic of Zencastr (#ad) and the two chop it up about problematic roles for Pierce Brosnan, someone they went to college with named Big Dumb Eric, the healing properties of Don Henley, how Zoom therapy hits but hits different, going to jazz clubs as a teenager, and reconnecting with friends you haven't spoken to in a long, long time. For additional information about the verbose and depressive music website Anhedonic Headphones, click here! Episode Musical Credits: Theme Music- "Flava In Ya Ear" (Instrumental); written by Osten Harvey Jr, Craig Mack, Roger Nichols, and Paul Williams. Bad Boy Records, 1994.  "Rollin," written by Adam Wiles, Nayvadius Wilburn, and Khalid Robinson; performed by DJ Calvin Harris, Future, and Khalid. Funk Wav Bounces Vol. 1, Sony Music, 2017. "My Back Pages," written by Bob Dylan; performed by Marshall Crenshaw. Bleecker Street - Greenwich Village in the 60s, Astor Place, 1999. "The Heart of The Matter," written by Mike Campbell, Don Henley, and J.D. Souther; performed by Don Henley. The End of The Innocence, Geffen, 1989. "Siren," written by Tori Amos and Patrick Doyle; performed by Tori Amos. Great Expectations, Atlantic, 1997. "Hit Hit Hit," written by Stasola, Carl Lionnet, and Jean Fernandes; performed by Oslo Telescopic. The Dominique Ø Project, Lithium, 2002. "Tyrone," written by Erykah Badu and Norman Hunt; performed by Erykah Badu. Live, Motown/Universal, 1997. "(I Love You) For Sentimental Reasons," written by Ivory Watson and William Best; performed by Nat King Cole. Unforgettable, Capitol, 1952.  "I Won't Be Your Yoko Ono," written and performed by Dar Williams. The Green World, Razor and Tie, 2000. "Mercy Street," written by Peter Gabriel; performed by Peter Gabriel with Elbow. And I'll Scratch Yours, Real World Records, 2013. "Sinnerman," traditional; performed by Nina Simone. Pastel Blues, Phillips Records, 1965.

Antes de ayer, jueves, 24 de septiembre, TOMA UNO cumplía exactamente 47 años desde su primer programa. Y esta vez lo celebramos ya comenzada la temporada número 48. Y lo queremos hacer rodeados de amigos. Nos encanta celebrar aniversarios. Estamos muy orgullosos de cumplir años haciendo lo de siempre: radio. Es un privilegio. Además, es una de las mejores maneras de manifestar públicamente el respeto y el agradecimiento hacia quienes estáis a nuestro lado. Tener memoria siempre es bueno. Y pensamos conservarla y compartirla. "Era mucho mayor entonces. Soy más joven ahora". Así podíamos escuchar en “My Back Pages”, una canción grabada en la primavera de 1964 por Bob Dylan para su álbum de aquel mismo año Another Side Of Bob Dylan. Lo hizo con el título provisional de “Ancient Memories” y acompañándose exclusivamente de su guitarra con una melodía original muy parecida a "The Lonesome Death of Hattie Carroll" de su disco anterior. Para abrir nuestro programa de hoy hemos querido recordarla en directo durante 1992 en la conmemoración de los primeros 30 años de la carrera del bardo. Una versión en la que intervenían por orden de aparición: Roger McGuinn, Tom Petty, Neil Young, Eric Clapton, el propio Dylan y George Harrison. Pura Americana. Lloyd Green y Jay Dee Maness, dos de los más grandes instrumentistas de steel guitar, intervinieron en distintas canciones de un álbum de los Byrds titulado Sweetheart of the Rodeo, convertido en la quinta esencia del country rock en 1968. Cuando se cumplió el medio siglo de su publicación, los dos resucitaron conjuntamente aquel disco seminal bajo el nombre de Journey to the Beginning: A Steel Guitar Tribute to the Byrds, una recreación instrumental canción a canción de las 11 que formaron Sweetheart of the Rodeo… pero con un añadido; y es que su tema de cierre fue esta versión del que fuera tema de apertura "You Ain’t Goin 'Nowhere", la legendaria composición de Bob Dylan. Para la ocasión contaron con las voces de Jim Lauderdale, Jeff Hanna de la Nitty Gritty Dirt Band, Richie Furay de Buffalo Springfield y Poco, y Herb Pedersen de la Desert Rose Band, además de la mandolina de Sam Bush. El día en que se cumplió el primer aniversario de la muerte de “el Beatle tranquilo” tenía lugar en el Royal Albert Hall de Londres un concierto homenaje a su figura y su música dirigido por uno de sus grandes amigos, Eric Clapton. Al año siguiente veía la luz Concert for George: A Celebration of the Life and Music of George Harrison donde Tom Petty, viejo compañero de George Harrison en los Travelling Wilburys, recordaba “I Need You”, un corte de Help!, el quinto álbum en la discografía de los Beatles. En la versión original de "I Need You" Harrison se desperezaba como compositor y aparecía incluso como cantante solista, además de demostrar sus habilidades como guitarrista. En 1994, dentro del proyecto Red Hot + Country para luchar contra el SIDA, Suzy Bogguss, Alison Krauss y Kathy Mattea unieron sus voces con las de Crosby, Stills & Nash para realizar esta versión antológica de un clásico tan significativo como “Teach Your Children”, que había sido grabado a finales de Octubre de 1969 por aquel supergrupo nacido en las colinas de Laurel Canyon, con la incorporación de Neil Young, para que formara parte del álbum Déjà Vu. Una canción pacifista creada por Graham Nash a la que Stephen Stills incorporó un medio tiempo de country con el añadido del steel guitar de Jerry Garcia, líder de Grateful Dead. Con la introducción original de voz y guitarra de su creador, Kris Kristofferson, y el impecable arrope instrumental de Byron House, Sam Bush, Jon Randall y Randy Scruggs, Emmylou Harris cantaba “The Pilgrim (Chapter 33)” del veterano e influyente cantante y compositor, además de actor. Formó parte de The Silver Tongued Devil And I, el segundo álbum del tejano publicado en 1971. Garth Brooks tuvo una especial significación en la década de los 90, rompiendo casi todas las barreras que la country music había tenido hasta entonces. Criticado hasta la extenuación por los defensores de la supuesta pureza, se retiró de la primera línea durante demasiados años, aunque nunca abandonó del todo. Su regreso oficial no le ha devuelto la popularidad de entonces, pero sigue dejando momentos muy brillantes. Hace siete años lanzó la caja de ocho discos Blame it All on My Roots: Five Decades of Influences. Además de dos CDS recopilando sus éxitos, un DVD con 33 de sus vídeos y otro con su show de Las Vegas que llamó The Ultimate Hits, incluía cuatro CDs con sus canciones favoritas entre las que encontramos “Amie”, un clásico imperdible de la Pure Prairie League, que formó parte de Bustin' Out, un año antes de que comenzara TOMA UNO, y se editó en single en 1975 a instancias de Lenny Kaye, guitarrista de Patti Smith. En 1970, la Nitty Gritty Dirt Band lanzó el álbum Uncle Charlie & His Dog Teddy, una mezcla serena y reposada de country con el folk de California, donde aparecía una luminosa versión del clásico de Jerry Jeff Walker "Mr. Bojangles". Cuando se cumplieron 38 años de aquella grabación, el grupo resucitó el tema con la incorporación de dos artistas compañeros de sello discográfico: Keith Urban y Dierks Bentley. Seguimos con canciones que son fundamentales en la historia de la música. Siempre, con la ayuda de los amigos… Por eso hemos recordado que han pasado 50 años desde que James Taylor publicara su segundo álbum en solitario Sweet Baby James, el que definitivamente impulsó su carrera y determinó un futuro como contador de historias que le ha convertido en un puntal de la Americana. La brillantez de James Taylor se pone de manifiesto en cada uno de sus trabajos, aunque casi todos vienen a coincidir en que Sweet Baby James es el que mejor describe sus formas estilísticas, una vez se hubo afincado en California. Pero no olvidemos que su debut en solitario llegó en 1969 con un álbum homónimo grabado para Apple Records con el apoyo de los propios Beatles. El, por ejemplo, los recordó en directo en este curiosa versión de “With A Little Help From My Friends”, que llevó a su propio terreno desde aquel Sgt. Pepper seminal de 1967. La pandemia ha provocado el aislamiento de muchos, pero han sido muchos artistas de Americana los que han procurado mantener el contacto con su gente gracias a las redes sociales. La familia Nelson ha sido de las más activas. Lukas, por ejemplo, ha instaurado sus Quarantunes Evening Session. La semana pasada, colgaba en su canal de YouTube una versión entrañable de “September Song” con The Promise Of The Real, donde milita su hermano Micah, y contando con su padre, Willie, tocando su inseparable Trigger. “September Song” es un estándar de los años 30 debido a la inspiración de Kurt Weill y Maxwell Anderson convertido en uno de los favoritos de Willie Nelson y que este incluyó en su álbum Stardust. En 1959 los Four Flickers dieron a conocer “Long Tall Texan”, una canción de Henry Strzelecki, uno de los miembros de este grupo de Birmingham, en Alabama, que se inició en el country y pasó al doo-woop de. Por eso no resulta extraño que los Beach Boys la incorporarán a su álbum Beach Boys Concert en el 64. Lo que resultó más sorprendente es que la eligieran 32 años más tarde para interpretarla en Stars and Stripes, Vol. 1, un disco que grabaron con artistas cercanos a Nashville. Así lo hicieron junto a Doug Supernaw, un tejano de Houston que se trasladó a la Music City a finales de los 80, debutando en 1993 con el álbum Red And Rio Grande, un disco equilibrado entre canciones propias y algunas otras de los compositores básicos de aquellos años. Arkie Shibley and His Mountain Dew Boys grabaron en 1950 “Hot Rod Race”, un tema que cinco años después se convertiría en “Hot Rod Lincoln”, cuando Charley Ryan & The Livingston Bros la editaron en Souvenir Records. Commander Cody & His Lost Planet Airmen, una formación favorita desde los comienzos de TOMA UNO, la grabó en el 71 para su álbum Lost In The Ozone y Asleep At The Wheel la enmarcaron en Western Standard Time, otro de esos discos imprescindibles para viajar por carretera. Pero hoy hemos recurrido a 1993 cuando el actor Jim Varney, un nativo de Lexington, en Kentucky, y Ricky Skaggs la actualizaron para la banda sonora de la película The Beverly Hillbilies, que llevó al cine la serie televisiva. Varney, que murió en 2000, hizo el papel de Jed Clampett. Tras la ruptura de los Eagles, se había comentado que Don Henley y Glenn Frey habían vuelto a trabajar juntos para rescatar algunas canciones inéditas de la formación de cara a un enésimo disco de éxitos y que, incluso, se podría hablar de un regreso del grupo. Esos rumores no pasaron de ahí. En pleno 1993, 20 años después de comenzar TOMA UNO, Don Henley e Irving Azoff, presidente de Giant Records, se pusieron a trabajar en un antiguo proyecto del batería. Consistía en que algunos de los artistas de country más populares por entonces se reunieran en un álbum interpretando versiones de los éxitos de los Eagles. El 40% de los royalties estarían destinados al proyecto Walden Woods, que Henley estableció en 1990 para proteger la tierra alrededor de Concord, en Massachusetts, donde Henry David Thoreau escribió el clásico Walden. El resultado fue Common Thread: The Songs Of The Eagles, un disco imprescindible que fue premiado por la CMA como álbum del año. En diciembre se estrenaba un video protagonizado por Travis Tritt en el que se reunía con la banda al completo para una nueva versión de "Take It Easy". Así se inició oficialmente su reunión. Así cerramos esta vez nuestra celebración de un aniversario más. Pensamos seguir contando. Escuchar audio

Quarter 2 of 2001! More than a couple tracks didn't hold up that great, but we got another Bob Dylan uber classic, and my favorite song of the year by a band whom I have a complicated relationship with. And some cheap shot poop jokes. You'll know when you hear it. Song list: "I Did It" by Dave Matthews Band, "Cruisin'" by Michael Nesmith, "Tangled Up in Blue" by Bob Dylan, "Happy Hour" by the Housemartins, "King For a Day"/"Haushinka" by Green Day, "My Back Pages" by the Bob Dylan All Stars, "I've Got a Rock'n'Roll Heart" by Eric Clapton, "Hash Pipe" by Weezer, "Out of Time" by the Rolling Stones, and "Tight Connection to my Heart" by Bob Dylan. --- Support this podcast: https://anchor.fm/musicismyradar/support

Wrapping up 2000 with a bang! Finally some more concurrent music, as well as the last burst of the solo Beatles. Song list: "Minority" by Green Day, "Lawyers in Love" by Jackson Browne, "You Get What You Give" by the New Radicals, "Deliver Your Children" by Paul McCartney and Wings, "My Back Pages" by the Byrds, "I'm Just a Singer" by the Moody Blues, "This Song" by George Harrison, "Steel and Glass" by John Lennon, and "Yesterday's Papers"/"Connection" by the Rolling Stones --- Support this podcast: https://anchor.fm/musicismyradar/support

Første afsnit ud af fire om Dylan om årene 1959-64. .Den unge Robert Allen Zimmerman forlader i 1959 hjemmet i Hibbing for at tage turen til The University of Minnesota, hvor han sjofler studierne, men til gengæld opdager folkemusikken, ikke mindst idolet Woody Guthrie og begynder at kalde sig … Bob Dylan. I januar 1961 lander den unge knøs i folkemusikmiljøet i Bohemia Central aka Greenwich Village i New York City, hvor han suger til sig som en svamp, stjæler fra alt og alle med arme og ben, men til gengæld forvandler han tyvekosterne til folkemusikkens mest originale værk. Samtidig påbegynder han en myte om sig selv, der ligger endog meget fjernt fra hans prosaiske middelklasseopvækst i udkants-USA. Som 20-årig får Dylan kontrakt med Columbia Records, og udsender i 1962-1964 de fire lp’er, der ikke blot grundlæggende ændrer populærmusikkens kurs, men griber aktivt ind i en stribe verdenshistoriske begivenheder. Sangen ‘Blowin’ in the Wind’ forvandler i 1963 Dylan fra at være en kapabel performer til en stilskabende sangskriver, der sætter ord på samtidens intense stemning af opbrud, forandring og revolte. When I Got Troubles (Privatindspilning, Hibbing, maj, 1959)In My Time of Dyin’ (fra Bob Dylan, marts, 1962)Song to Woody (fra Bob Dylan, marts, 1962)House of the Rising Sun (fra Bob Dylan, marts, 1962)Blowin’ in the Wind (Live, april 1962) Mixed Up Confusion (Single, november, 1962) Tomorrow Is a Long Time (Live, april, 1963)Masters of War (fra The Freewheelin’ Bob Dylan, maj, 1963)A Hard Rain’s A-Gonna Fall (fra The Freewheelin’ Bob Dylan, maj, 1963)Don’t Think Twice, It’s All Right (fra The Freewheelin’ Bob Dylan, maj, 1963)Lay Down Your Weary Tune (Live, oktober 1963)The Times They Are a-Changin’ (fra The Times They Are a-Changin’, januar, 1964)Only a Pawn in Their Game (fra The Times They Are a-Changin’, januar, 1964)Boots of Spanish Leather (fra The Times They Are a-Changin’, januar, 1964)My Back Pages (fra Another Side of Bob Dylan, august, 1964)Motorpsycho Nightmare (fra Another Side of Bob Dylan, august, 1964)To Ramona (fra Another Side of Bob Dylan, august, 1964)Foto: Columbia Records (1962)

POD DYLAN Episode 92 - My Back Pages Rob welcomes fellow BobCat Tom JJ Wood to discuss "My Back Pages" from 1964's ANOTHER SIDE OF BOB DYLAN. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan Subscribe to the show on iTunes: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Buy this song on iTunes: https://itunes.apple.com/us/album/another-side-of-bob-dylan/198161466 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Thanks for listening!

POD DYLAN Episode 92 - My Back Pages Rob welcomes fellow BobCat Tom JJ Wood to discuss "My Back Pages" from 1964's ANOTHER SIDE OF BOB DYLAN. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan Subscribe to the show on iTunes: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Buy this song on iTunes: https://itunes.apple.com/us/album/another-side-of-bob-dylan/198161466 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Thanks for listening!

My Back PagesBob DylanCrimson flames tied through my earsRollin' high and mighty trapsPounced with fire on flaming roadsUsing ideas as my maps“We'll meet on edges, soon,” said IProud 'neath heated browAh, but I was so much older thenI'm younger than that nowHalf-wracked prejudice leaped forth“Rip down all hate,” I screamedLies that life is black and whiteSpoke from my skull. I dreamedRomantic facts of musketeersFoundationed deep, somehowAh, but I was so much older thenI'm younger than that nowGirls' faces formed the forward pathFrom phony jealousyTo memorizing politicsOf ancient historyFlung down by corpse evangelistsUnthought of, though, somehowAh, but I was so much older thenI'm younger than that nowA self-ordained professor's tongueToo serious to foolSpouted out that libertyIs just equality in school“Equality,” I spoke the wordAs if a wedding vowAh, but I was so much older thenI'm younger than that nowIn a soldier's stance, I aimed my handAt the mongrel dogs who teachFearing not I'd become my enemyIn the instant that I preachMy existence led by confusion boatsMutiny from stern to bowAh, but I was so much older thenI'm younger than that nowYes, my guard stood hard when abstract threatsToo noble to neglectDeceived me into thinkingI had something to protectGood and bad, I define these termsQuite clear, no doubt, somehowAh, but I was so much older thenI'm younger than that now

The last message in this run of The Word in Song is "My Back Pages", inspired by the time by Bob Dylan. This Father's Day message reflects on what it means to be like a child. Do we still ask questions like a child? Be humble like a child? Find inspiration anywhere and everywhere, and hear the Word in song! Our scripture reading comes from Matthew 18:1-5, 10-14. The musical inspiration comes from "My Back Pages" by Bob Dylan.

Episode 15: My Back Pages. In this episode, we talk to Harvard University's George Martin Lane Professor of the classics, Richard Thomas. He will be discussing his book Why Bob Dylan Matters. Cited by the New York Times as having the "coolest class on campus", his Dylan seminar is introducing a new generation of fans to the revered Bard's work. We will also speak with Phillip Dodge, Chair, Friends and Foundation of Howard County Library System. He will tell us about this year's HCLS fundraiser, Retro Evening in the Stacks.

The first track on this year's God on my iPod is "My Back Pages", by Bob Dylan. In the song, Dylan challenges us to continue to grow with an open mind, and rethink what we thought we once knew. It sounds very similar to a conversation Jesus has with a man named Nicodemus calling him to be born again. What would it look like for us, as we get older to become younger, and even child like in our faith? Join us this Sunday to discover what can happen when we sit in relationship with Jesus.

In 1959, a young singer-songwriter named Bob Zimmerman changed his name. As Bob Dylan, he then went on to change the world. After being lauded for more than 50 years for his songs and lyrics, this icon of the Sixties seemingly had achieved everything possible… and then the Nobel Committee awarded him the Nobel Prize for Literature. But does a writer of song lyrics deserve to be ranked among the world’s finest poets and novelists? Host Jacke Wilson is joined by Mike Palindrome, the President of the Literature Supporters Club, for a freewheelin’ conversation about the legendary Bob Dylan. Bob Dylan Songs: “Tangled Up in Blue” (performed by K.T. Tunstall); “Lay Lady Lay”; “My Back Pages” (performed by the Byrds); “Every Grain of Sand” (performed by Emmylou Harris) Show Notes:  Contact the host at jackewilsonauthor@gmail.com or by leaving a voicemail at 1-361-4WILSON (1-361-494-5766). You can find more literary discussion at jackewilson.com and more episodes of the series at historyofliterature.com. Check out our Facebook page at facebook.com/historyofliterature. Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). Learn more about your ad choices. Visit megaphone.fm/adchoices

Bienvenidos al milésimo cuadragésimo séptimo episodio de “Las 6 de la mañana”, un podcast diario que trae 6 canciones, para que iniciemos el día con buena música. Nuestro invitado de hoy: «Eric Clapton» El listado para hoy es: Artista / Tema 01 – Tears in Heaven 02 – My Back Pages – Album Version 03 –…Continúa leyendo Podcast: Las 6am episodio 1047, Eric Clapton

The first installment of the Makers & Shakers 2015 podcast. The first speaker you will hear from is Minta Carlson doing her presentation, "My Back Pages". Next you will hear Michael Rodriquez Torrent with his speech titled, "Film Unbound". Then to wrap it up, we have Sarah Garstka with her speech, "Plant For Growth". Enjoy.

In his series Songs of the Spirit, Rev. Ken Beldon delves into Bob Dylan's classic song "My Back Pages." The key lyric: "I was so much older then. I'm younger than that now." As we get older, how do we avoid hiding behind ego and fear, acquisitions and possessions? Rev. Ken ties together lessons from Thich Nhat Hanh, Joseph Campbell, Dr. Carl Jung, and even Homer Simpson. All of them teach us how to be younger tomorrow in spirit than we are today.

In his series Songs of the Spirit, Rev. Ken Beldon delves into Bob Dylan's classic song "My Back Pages." The key lyric: "I was so much older then. I'm younger than that now." As we get older, how do we avoid hiding behind ego and fear, acquisitions and possessions? Rev. Ken ties together lessons from Thich Nhat Hanh, Joseph Campbell, Dr. Carl Jung, and even Homer Simpson. All of them teach us how to be younger tomorrow in spirit than we are today.

In his series Songs of the Spirit, Rev. Ken Beldon delves into Bob Dylan's classic song "My Back Pages." The key lyric: "I was so much older then. I'm younger than that now." As we get older, how do we avoid hiding behind ego and fear, acquisitions and possessions? Rev. Ken ties together lessons from Thich Nhat Hanh, Joseph Campbell, Dr. Carl Jung, and even Homer Simpson. All of them teach us how to be younger tomorrow in spirit than we are today.

In his series Songs of the Spirit, Rev. Ken Beldon delves into Bob Dylan's classic song "My Back Pages." The key lyric: "I was so much older then. I'm younger than that now." As we get older, how do we avoid hiding behind ego and fear, acquisitions and possessions? Rev. Ken ties together lessons from Thich Nhat Hanh, Joseph Campbell, Dr. Carl Jung, and even Homer Simpson. All of them teach us how to be younger tomorrow in spirit than we are today.

Sentimentality about Cool Hand Luke, indomitable spirit, the Great Mechanick, living above board and having a laugh and an esteemable regard, or disregard for death as defeat or vice-versa.  The tracks selected, hidden between samples, reflect my living.Lyrics in m4a ID3 tag for lyrics, and tracklist below:1,"Sometimes Nothing Can Be a Real Cool Hand","Cool Hand Luke","Cool Hand Luke"2,"Intro to ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37","Giosue Etranger","ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37"3,"Just Passing Time, Captain","Cool Hand Luke","Cool Hand Luke"4,"Castles Made of Sand","The Jimi Hendrix Experience","Axis: Bold as Love"5,"Plastic Jesus","The Goldcoast Singers","Here They Are! The Goldcoast Singers"6,"Baba O'Riley","The Who","Who's Next"7,"Fish in the Jailhouse","Tom Waits","Orphans: Brawlers"8,"What Good Is It","Screamin' Jay Hawkins","I Put a Spell On You"9,"With Nothing","Cool Hand Luke","Cool Hand Luke"10,"You Can Get It If You Really Want","Jimmy Cliff","The Harder They Come"11,"Eat 50 Eggs","Cool Hand Luke","Cool Hand Luke"12,"Love Me Hate Me Kill Me Anything Just LET ME KNOW IT","Cool Hand Luke","Cool Hand Luke"13,"New York, I Love You but You're Bringing Me Down","LCD Soundsystem","Sound of Silver"14,"Plastic Jesus","Cool Hand Luke","Cool Hand Luke"15,"Just Doing My Job","Cool Hand Luke","Cool Hand Luke"16,"Alec Eiffel","Pixies","Trompe le Monde"17,"Gouge Away","Pixies","Doolittle"18,"How Do You Take Your Pants Off?","Cool Hand Luke","Cool Hand Luke"19,"Inglan Is a Bitch","Linton Kwesi Johnson","Bass Culture"20,"You Gotta Move","The Rolling Stones","Sticky Fingers"21,"Dear Boys Playing It Cool","Cool Hand Luke","Cool Hand Luke"22,"Florida","Modest Mouse","We Were Dead Before the Ship Even Sank"23,"Easy Eats or Dirty Doctor Galapagos","Man Man","Rabbit Habits"24,"Midnight Special","Lead Belly","The Very Best of Leadbelly"25,"Over And Over Again (Lost And Found)","Clap Your Hands Say Yeah","Clap Your Hands Say Yeah"26,"Never Make It (What're You Talking About?)","Cool Hand Luke","Cool Hand Luke"27,"Approximate Sunlight","Bright Eyes","The People's Key"28,"Never Planned Anything in My Life","Cool Hand Luke","Cool Hand Luke"29,"My Back Pages","Bob Dylan","Another Side of Bob Dylan"30,"Plastic Jesus","The Flaming Lips","Transmissions From the Satellite Heart"31,"Conclusion (So Good)","Cool Hand Luke","Cool Hand Luke"32,"End Title","Lalo Schifrin","Cool Hand Luke"33,"Goodbye","Giosue Etranger","ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37"That's It.ᎦᎵᏉᎩ (galiquogi) 7ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37An Endorsement for Nobyl Skateboards (I'm not an actor):#37: The What For (Buy something from them. Maybe it's a good idea.)

(0:00) Tombstone Blues, 2/20/99, Boulder Theater, Boulder, CO (SBD) (7:14) I Shall Be Released, 5/5/99, Arcadia Theater, Dallas, TX (Taper: Larry Fox) (24:06) Tom Thumb Blues, 8/1/03, Horning's Hideout, North Plains, OR (Taper: Jason Ho) (31:05) Tangled Up In Blue, 4/7/05, Big Easy Concert House, Spokane, WA (Taper: Ryan NeRoy) (40:37) My Back Pages, 4/22/04, Zepp Tokyo (SBD) (44:33) It Takes a Lot to Laugh (It Takes a Train to Cry), 10/16/04, The Backyard, Austin, TX (Taper: Joe Billerbeck) (48:24) You Ain't Goin' Nowhere, 3/26/05, Fillmore Auditorium, Denver, CO (Taper: Phil Rollins) (54:56) Meet Me in the Morning, 11/25/06, Fabulous Fox Theatre, Atlanta, GA (Taper: Joe Billerbeck) (1:01:14) Quinn the Eskimo, 10/28/01, Landmark Theater, Syracuse, NY (Taper: Benjamin Fleahman) (1:11:40) Knockin' on Heaven's Door, 3/25/02, Fillmore Auditorium, Denver, CO (Taper: Dave Koorey)

Hints and tips for media appearances and public speaking. This week; My Back Pages; Digital Radio; What's the Point?: Show and Tell; Smile for the Camera; Leave it Alone; A Feature Interview with Michael Soon Lee on "Finding Your Niche"