Podcast appearances and mentions of Nancy Sinatra

This episode was originally released on 11/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 85, we spotlight the radio career of Frank Sinatra. We'll find out how a brash, skinny kid from Hoboken, New Jersey became one of the most popular and influential music artists of the 20th century, selling more than 150 million records worldwide, winning an academy award for Best Supporting Actor, and using radio to launch it all. Highlights: • How Sinatra's Difficult Birth Affected The Rest of His Life • Growing Up In Hoboken • Not Interested in School, Interested in Singing • WAAT, WNEW, WOR and the Rustic Cabin • The Hoboken Four • Early Hustling • Harry James and Tommy Dorsey • Sinatra's Popularity Explodes • Going Solo • Success on CBS during World War II • Marriage, Infidelity… and more infidelity • The Havana Conference • Problems with Sponsorship • The Decline Begins • Ava • Losing His Voice • Bottoming Out • The Slow Rise • Maggio and an Oscar • Rocky Fortune • A Reborn Sinatra The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers 
 The reading material used in tonight's episode was: • The Encyclopedia of Old Time Radio by John Dunning • Why Sinatra Matters by Pete Hamill • Frank: The Voice by James Kaplan • The Museum of Broadcast Communications Encyclopedia of Radio - by Christopher H. Sterling Lots and Lots of interviews in today's episode: • Frank Sinatra was with: Walter Cronkite in 1965; Johnny Carson in 1976; Arlene Francis in the early 1980s; and Larry King in 1988 • Nancy Sinatra was with: Walter Cronkite in 1965 and Larry King in 1995 • Chuck Schaden interviewed Ken Carpenter And Carroll Carroll. Both of these conversations were recorded on February 17th, 1975. To listen to many complete interviews Chuck conducted throughout his career, please go to SpeakingofRadio.com • Bob Eberly was with Arnold Dean. Hear that full interview and many others at Goldenage-WTIC.org • Jo Stafford was with Matthew Feinstein for Jo Stafford's “Ballad of the Blues” • Gary Moore and Andre Baruch spoke to Westinghouse in 1970. • Les Tremayne and Jack Brown were featured from their 1986 history of radio called “Please Stand By”

Arrancamos con Hiromi y sus aventuras con Sonicwonder y un par de novedades de Thee Sacred Soul y de The Baker Brothers. El resto… explorando canciones de géneros diversos. De Elvis Presley a Randy Newman o Patti LaBelle; de Nancy Sinatra a William Bell, A.J. Croce - el hijo de Jim -, Orleans o Santiago Auserón. Y que no falten los saxos de Patxi Pascual.DISCO 1 HIROMI Out There (Strolling’) (ft. SONICWONDER)DISCO 2 THEE SACRED SOUL We Don’t Have To Be AloneDISCO 3 THE BAKER BROTHERS & HANNAH WILLIAMS SunriseDISCO 4 WILLIAM BELL Poison in The WellDISCO 5 RANDY NEWMAN Take Me BackDISCO 6 PATTI LABELLE Delliver The Funk DISCO 7 A.J. CROCE The Heart That Makes Me WholeDISCO 8 RUPERT HOLMES Partners In CrimeDISCO 9 ORLEANS Everybody Needs Some MusicDISCO 10 ELVIS PRESLEY Suspicious MindDISCO 11 PATXI PASCUAL Los Buenos DíasDISCO 12 SANTIAGO AUSERÓN & ORQUESTA SINFÓNICA DE LA REGIÓN DE MURCIA La Mala FamaDISCO 13 NANCY SINATRA These Boots Are For WalkingEscuchar audio

This is an Encore Presentation of my December 2022 interview with Bruce Belland of The Four Preps, America's first boy band. Their 1958 million selling hit “26 Miles Across The Sea” made them into international pop stars. The song influenced Brian Wilson of the Beach Boys and inspired Jimmy Buffett. The Preps were featured on the Ed Sullivan Show and had a recurring role in “Ozzie And Harriet”. They even co-starred in the movie “Gidget” with Sandra Dee. In total they had 8 Gold Singles and 3 Gold Albums. Bruce talks about his fascinating life in the entertainment business including his date with Nancy Sinatra. My featured song is “Around The Horn” from the Made In New York album by my band, Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Bruce:www.brucebelland.com—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Rescatamos canciones bien conocidas transformadas en versiones de rockabilly, psychobilly y otros sonidos de raíces o tupés.Playlist;(sintonía) LOS MAMBO JAMBO “Camino de la cama” (Siniestro Total)MELLOW JO & THE HI-TONES “Rock and Roll” (Led Zeppelin)THE HILLBILLY MOON EXPLOSION “Call me” (Blondie)MAD SIN “I shot the sheriff” (Bob Marley)THE METEORS “These boots are made for walkin’” (Nancy Sinatra)LOS CAVERNAS “20th century boy (T-Rex)SOUTHERN CULTURE ON THE SKIDS “Happy Jack” (The Who)THE QUAKES “Send me an angel” (Real Life)PAUL ANSELL’S NUMBER NINE “Red light” (Billy Ocean)JD McPHERSON “Lust for life” (Iggy Pop)HISTORIA DEL CRIMEN “She talks to rainbows” (Ramones)ZOMBIE GHOST TRAIN “Girl U want” (Devo)LIVING END “10-15 Saturday night” (The Cure)THE HEADCAT “You can’t do that” (The Beatles)WACO BROTHERS “The harder they come” (Jimmy Cliff)THE COAL PORTERS “Heroes” (Bowie)Escuchar audio

Ce 23 avril, Marjorie Hache nous régale avec deux heures de rock, pop pointue et quelques classiques indémodables. Parmi les incontournables, Deep Purple avec "Hush" et The Velvet Underground avec "Sweet Jane". Côté nouveautés, Sparks nous fait découvrir leur dernier titre "Drowned In A Sea Of Tears" avant la sortie de leur album "Mad" le 23 mai. L'album de la semaine est signé Tunde Adebimpe, ex-chanteur de TV On The Radio, avec son premier projet solo "Thee Black Boltz", un mélange de soul, synthé et riddim sur le titre "The Moste". La reprise du jour, "These Boots Are Made For Walking" de Nancy Sinatra revisitée par Megadeth, apportera une touche de métal. Le live se fait avec Judas Priest, et la nouveauté française du soir est Gloria, un groupe lyonnais de rock psychédélique, avec leur titre "Echo". Sparks - Drowned In A Sea Of Tears Deep Purple - Hush Ramones - Judy Is A Punk Aerosmith - Love In An Elevator CMAT - Running Planning The Kinks - You Really Got Me Blur - Beetlebum Tunde Adebimpe - The Most Blue Öyster Cult - Dont Fear The Reaper Imparfait - On Crie Encore (À L'américaine) The Rolling Stones - Harlem Shuffle Ghost - Lachryma Diana Gameros - Sweet Jane Placebo - Nancy Boy Last Train - One By One Al Green - Let's Stay Together Hole - Violet Judas Priest - The Green Manalishi (Live At Live Aid) Depeche Mode - Heaven Justice - Audio, Video, Disco. Gloria - Echo The Box Tops - The Letter Goo Goo Dolls - Iris La Souris Deglinguée - Dernier Pogo à Paris Johansson Scarlett & Yorn Pete - Relator Fontaines D.C. - It's Amazing To Be Young Chicago - I'm A Man Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Andy Cowan joined me to discuss his Seinfeld episode, "The Opposite"; his book and chapter on rejected Seinfeld plots; Danny Thomas; his idol, Jack Benny; Leave it to Beaver & The Honeymooners; going to Boston University; loving Letterman & VCR's; Nancy Sinatra and Seinfeld finale; jazz; how he tricked Lorne Michaels into a meeting; how he would "fix" SNL; Rick Moranis & SCTV; being a pre-interviewer on the Merv Griffin Show; writing spec Taxi's; ore-interviewing Orson Welles the day before he died; Whitney Houston; Ethel Merman; writing for Cheers and The Pat Sajak Show; Jerry Lewis; 60 Minutes then and now; Andy Rooney; Howie, a comic strip, cartoon, and sitcom stuck in development; Up & Down Guys; his podcast the Neurotic Vaccine; his new episode which which he considers his best

Immerse yourself in a journey through the realms of downtempo, lounge, and trip-hop with this carefully curated DJ mix. Blending smooth beats, dreamy melodies, and soulful grooves, each track is hand-picked to create an atmosphere of relaxation and introspection. From the laid-back rhythms of 9 Lazy 9's Slow Plus to the jazzy undertones of Yonderboi's Fairy of the Lake, this mix transports you to a world where time slows down and every note resonates deeply. With unexpected twists like Nancy Sinatra's iconic Bang Bang reinterpreted alongside modern electronic gems from artists such as Bicep, Boozoo Bajou, and Funki Porcini, the mix effortlessly blends vintage charm with contemporary innovation. The chilled-out vibes of Aqua Bassino's Na Na's Waltz and the hypnotic sounds of The Irresistible Force's The Lie-In King add layers of texture that invite listeners to unwind and let go. Whether you're looking for background music to set the mood or something to lose yourself in during a late-night drive, this mix offers a perfect soundtrack for moments of quiet reflection and peaceful escape. Let the music guide you into a state of serene bliss as it weaves together elements of electronica, chillout, and jazz, creating a sonic experience that lingers long after the last beat fades away. 9 Lazy 9 - Slow Plus Touch and Go - Are You Talking About Me Yonderboi - Fairy of the Lake Vinicio Adames - La Forma del Tiempo II Fila Brazillia - Sugarplum Hairnet Harmonic 33 - Pianet 54 Nancy Sinatra - Bang Bang (My Baby Shot Me Down) Chris Coco — Something Everything (feat. Hush Forever) Kinobe - Hammock Island Aqua Bassino - Na Na's Waltz The Irresistible Force - The Lie-in King BangBang - Je t'aime je t'aime Funki Porcini - Tiers Of Joy The Cinematic Orchestra - And Relax! The Gentle People - Journey (reprise) Bicep - Lido The Gentle People - Trepanning Boozoo Bajou - My Garden Jimi Tenor - Theme Sax Nightmares On Wax - Imagineering Up, Bustle & Out - !Que Pasatiempo Mas Formidable!

"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73

Hoy Carol Kaye cumple 90 años. ¿Quién es? Vas a alucinar. Bajista y guitarrista grabó su instrumento en varios, en muchos de los mayores éxitos de la música popular estadounidense desde finales de los años cincuenta del siglo pasado para los artistas más históricos: Elvis Presley, The Beach Boys, Barbra Streisand, Sam Cooke, Quincy Jones, Buffalo Springfield, J.J. Cale, Simon & Garfunkel, Joe Cocker, etc, etc, etc. He aquí una selección sucinta. ¡Feliz cumpleaños, Carol! DISCO 1 LALO SCHIFRIN Mission Impossible (ESCA) DISCO 2 THE BEACH BOYS California Girls (ESCA)  DISCO 3 GLORIA JONES Tainted Love (ESCA)  DISCO 4 THE MONKEES I’m A Believer (ESCA) DISCO 5 RITCHIE VALENS La Bamba (ESCA) DISCO 6 ELVIS PRESLEY Suspicious Mind (ESCA) DISCO 7 NANCY SINATRA These Boots Are Made For Walking (ESCA) DISCO 8 J.J. CALE Carry On (ESCA) DISCO 9 THE RIGHTEOUS BROTHERS You’ve Lost That Loving Feeling (ESCA) DISCO 10 BUFFALO SPRINGFIELD  Expecting To Fly (ESCA) DISCO 11 QUINCY JONES Them From Bill Cosby Show (ESCA) DISCO 12 SIMON & GARFUNKEL Homeward Bound (ESCA) DISCO 13 GLEN CAMPBELL Wichita Lineman (ESCA) DISCO 14 SAM COOKE Summertime (ESCA) DISOC 15 JOE COCKER Feeling Alright (ESCA)Escuchar audio

Hoy en La Gran Travesía viajamos hasta el año 1966 en un programa donde podréis escuchar a Nancy Sinatra, los Who, Bob Dylan, James Brown, Rolling Stones, Jefferson Airplane, Beatles, Grateful Dead, Beach Boys, Simon and Garfunkel, Troggs, Sonics, David Bowie, Kinks, Small Faces, Love Stevie Wonder, Spencer Davis Group, Mamas and the Papas... entre muchos otros! También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.mdemagica.es/libro/gran-travesia-del-rock-la_53628 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Gastón Nicora, Con, Piri, Don T, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Utxi 73, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Hey listeners, welcome to the 60's! This week, Kelli and Troy discuss some of Elvis Presley's relationships! The duo starts with Priscilla, then Ginger, Nancy Sinatra, and his alleged love for teenage girls. At the end of the episode, the two discuss whether any current artist could reach the level of fame that Elvis experienced. Tour tickets! - https://www.x1entertainment.com/beyondtheblinds For more content join our Patreon! - patreon.com/Beyondtheblinds Merch! - https://beyond-the-blinds.printify.me/ Vice article - https://www.vice.com/en/article/elvis-was-the-king-of-treating-women-like-shit-and-luring-14-year-olds-into-bed/ ----Sponsors--- BetterHelp! - Visit BetterHelp.com/blinds today to get 10% off your first month. First Aid Beauty! We know you'll love First Aid Beauty's Ultra Repair Cream as much as we do – order some today! We've got a great deal for you too! Order through our exclusive URL to get 20% your first purchase! Go now to FirstAidBeauty.com/BLINDS and use our promo code BLINDS! https://Galatea.com/blinds - our listeners an extra 25% off on top of an already-irresistibly-affordable subscription Quince.com/BLINDS - free shipping and 365 day returns shopify.com/blinds - sign up for your $1 per month trial period acorns.com/BLINDS - sign up now and save Learn more about your ad choices. Visit megaphone.fm/adchoices

Danielle Aykroyd is a singer-songwriter and multi-instrumentalist who performs under the name Vera Sola. Sometimes called the "lost love child of Leonard Cohen and Nancy Sinatra," Vera Sola's smoky vocalization and searing, soaring songs have a cinematic aspect to them, and would feel equally at home in a David Lynch film or a prairie full of phantoms. A trained poet, her lyrics are twisting and imagistic, marked alternatively by restrained mystery and a resplendent, wild-eyed rage.Her 2018 debut LP, Shades, which she plays every instrument on, is a study in shadowy Americana and mesmeric incantation. Her sophomore album of 2024, Peacemaker, is a more expansive extravaganza with lush orchestration, dark dreamscapes, and tales of vengeance, heartache, and haunting. Vera Sola's new EP, Ghostmaker is a pared-down resurrection of Peacemaker tracks, and features a brand new song, “The Ghostmaster's Daughter.”On this episode, Danielle discusses howspirits guide her music, her relationship to ghosts, and the liberating power of finding her voice.Pam also talks about the feminist history of Spiritualism, and answers a listener question about a precarious prediction. Vera Sola's songs featured in the audio version of this podcast episode are as follows:“Circles” from Shades“Bad Idea” from Peacemaker“The Ghostmaster's Daughter” from Ghostmaker“Blood Bond” from Peacemaker“Instrument of War” from PeacemakerCheck out the video of this episode over on YouTube (and please like and subscribe to the channel while you're at it!)Our sponsors for this episode are Mithras Candle, BetterHelp, Black Phoenix Alchemy Lab, and Dear Antigone.We also have print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here, and all sorts of other bewitching goodies available in the Witch Wave shop.And if you want more Witch Wave, please consider supporting us on Patreon to get access to detailed show notes, bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

Ladies and Gentlemen, welcome back for more DOUBLE TROUBLELet's talk about dreams….Dreams can be intoxicatingly erotic; they can be filled with loss and longing; you might be falling, trapped in an confusing maze, or carried across bodies of water in a leaky boat.  I often have the actor's nightmare - where I'm about to go onstage, but I don't know my lines and I don't even know which play it is. These are dreams from which I wake up in a cold sweat.SUMMER WINE by Nancy Sinatra and Lee Hazelwood (Reprise, 1966)A Succubus is defined as a female demon or supernatural entity that appears in dreams to seduce men. This is probably what singer-songwriter-producer Lee Hazelwood had in mind when he paired up with the husky voiced Nancy Sinatra to tell the story of a cowboy who swaggers into town, and meets an alluring siren, who then invites him to spend the night partaking of her special home-made brew. He drinks too much of the elixir and wakes up the next morning alone, hungover, and without his silver spurs. This might have been a cautionary tale, but the smitten cowboy is left craving more of the same.Understandable. Nancy had seduced us all with These Boots Are Made For Walkin' and Sugar Town, and was at the peak of her magnetic powers. Teaming up with Lee was a smart move, too, because this Svengali was an American original; an independently minded auteur, with an irresistible basso, who, with his muse, went on to create many evocative and enduring tracks before going their separate ways. The structure of the song is simple: Nancy sings only the recurring chorus describing her recipe: “Strawberries, Cherries, and an Angel's kiss in spring…” This plays like an ear worm, stuck in the cowboy's head as he relates his mysterious tale of submission.HOW CAN WE HANG ON TO A DREAM by Mimi Farina (Philo, 1985)Mimi Farina became a widow at age 21. The younger sister of Joan Baez, who was one half of an anointed, royal duo of folk music, was left bereft when Richard Farina, her husband and partner, rode his motorcycle into oblivion. After casting about for years, trying to find her civic, and artistic footing (forming the charitable performing organization, Bread and Roses - and, even trying improv comedy) - she finally emerged in 1985, stronger and more confident at the age of 40, with a beautiful solo effort. Here she interprets the Tim Hardin composition HOW CAN WE HANG ON TO A DREAM? - which delicately puts all her trials into perspective.Mimi died of cancer in 2001, leaving behind a legacy of fragile, dream-like beauty and wonder. It seems that some people are too good for this world. I'm reminded of Richard and Mimi's anthemic PACK UP YOUR SORROWS…”If somehow you could pack up your sorrows, and give them all to me….you would lose them, I know how to use them, give them all to me.”Mimi did just that for us. 

MONOLOGUE The Liberal Clown Car Rolls On NEWSMAKER Liberal Leadership Debate  Wyatt Claypool, Senior Contributor with The National Telegraph Thenationaltelegraph.com  on YouTube https://www.youtube.com/@thenationaltelegraph9253   OPEN LINES THE CULT OF CLIMATE CHANGE Yes, NOAA adjusts its historical weather data: Here's why https://abcnews.go.com/US/noaa-adjusts-historical-weather-data/story?id=118987611 Tony Heller – Geologist, Weather Historian, Founder of Real Climate Science dot com MONOLOGUE "The Mass Graves Hoax: How a Lie Branded Canada as a Genocidal Nation NEWSMAKER Patrick Brown STRIKES AGAIN! Brampton staffers allegedly campaign to elect his mother-in-law https://www.rebelnews.com/patrick_brown_staffers_allegedly_campaign_to_elect_mother_in_law  David Menzies – Rebel News Mission Specialist OPEN LINES THIS DAY IN ROCK HISTORY  On this day in music, February 26, 1983, Michael Jackson's Thriller topped the Billboard Album chart – and was well on its way to becoming the best-selling album of the year, worldwide.  In 1980, Island Records' Rob Partridge and Bill Stewart offered U2 a recording contract after watching their performance at Dublin's National Boxing Stadium. A month later, the Irish rock band signed a four-year, four-album contract with the label.  In 1966, Nancy Sinatra scored her first No.1 hit in the US with “These Boots Are Made For Walkin'.” Written by Lee Hazlewood, and featuring instrumentation by The Wrecking Crew, the song marked the beginning of a long creative partnership between Sinatra and Hazlewood. Learn more about your ad choices. Visit megaphone.fm/adchoices

For this months episode we head back to 1971 for a batch of epicly long prog epics, peppered with the occasional bit of folk rock, powerpop, metal, jazz, and afrobeat. Our longest playlist yet, and lots of fun along the way! We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - Badfinger, The Beach Boys, Black Sabbath, David Bowie, Can, Caravan, Neil Diamond, Nick Drake, Emerson, Lake & Palmer, Flower Travelin' Band, The Flying Burrito Brothers, Focus, Hampton Grease Band, Jimi Hendrix, The Hollies, Billy Joel, King Crimson, Mahavishnu Orchestra, Nazz, Harry Nilsson, The Norman Haines Band, Osibisa, Pink FLoyd, The Rolling Stones, Pharoah Sanders, Nancy Sinatra & Lee Hazlewood, Stephen Stills, Traffic, Van Der Graaf Generator & The WhoFind all songs in alphabetical order here - https://open.spotify.com/playlist/36GaQbyuHTepSEAQkXubCN?si=24673026411f4e51Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com 

We told you! University High School in West Los Angeles is a legendary place for a reason. The phrase "only in LA" comes to mind when you take a look at a list of the incredibly talented superstars - from film, music and elsewhere - that have attended this hallowed schoolhouse. Our pals Morty Coyle and Jordan Summers are also incredibly talented superstars in their own right, and they have wonderful stories to tell as they are amongst the subjects of this week's topic - Top Ten University High Alumni. Picks 5-1 are featured here in Part 2.If you missed Part 1, go back and check it out on Apple Podcasts or wherever you get yours:https://podcasts.apple.com/us/podcast/episode-654-top-ten-university-high-alumni-part-1-w/id573735994?i=1000688509246What a wealth of amazing talent! Hear every song heard in Parts 1 & 2 at the official Top Ten University High Alumni Spotify playlist:https://open.spotify.com/playlist/1AH2XMLvTRJWEln0eQ3Y4A?si=970268aac0a24340Morty and Jordan make great music as members of LA stalwarts All Day Sucker. Explore their catalog at their websitehttps://www.alldaysucker.net/We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. It's the long-awaited return of Chrissy Olsen, in an all new episode, out February 1st! Find out more at https://www.patreon.com/c/alltimetopten

Episode 185 of Pudding On The Wrist.  In which your faithful deejay and psychic friend spins choice cuts from Psychic TV, Batswing Saloon, Yıldız Yurtsever, Nancy Sinatra & Lee Hazlewood, Ahmed Abdul-Malik, and so many more.Come for the pudding, stay for the wrist.

EP 426 - Cosmic sounds from where the rugged coastline of the Bow River meets the untamed prairie horizonsPlaylist: Workhorse & Friends - Changing of the LightS.E. Rogie - I Wish I Was A CowboyMichael Hurley - No, No, No, I Won't Come (Go) Down No MoreThe Deslondes - Grand JunctionTobacco City - AutumnThe Dust Collectors - Old No. 9 TrainRose City Band - Radio SongAnimal Piss, It's Everywhere - I Like JesusBig Rig - BacheloretteCharlie Overman - Canada Thistle (All of My Friends)Jared Jackel's Bad Vibrations - Mind's EyeDuff Thompson - StrangerGeronimo's Hit Single - CornerstoreNancy Sinatra & Lee Hazlewood - Arkansas Coal

Our guest today is John Baldwin - a mastering engineer from Nashville, TN. John has worked with Lou Reed, Sly Stone, Emmylou Harris, Nancy Sinatra, Glossary, and The Jesus Lizard. We talk about persistence in getting an internship, not convoluting the process, leaning on Brian Eno for guidance, retraining yourself to not “grind” yourself until defeat, and getting outside to do things unrelated to mastering. This episode's music is brought to you by Maggie Mae from Philadelphia, PA. For more information on Maggie Mae, head to: https://www.maggiemaemusic.com For more information about John: Check out https://johnbaldwinmastering.com And you can find him on Instagram: @johnbaldwinmastering

Art Bell - Hal Lindsey - Bible Prophecy. Nancy Sinatra Interview

La sexta y última entrega para completar las 100 canciones favoritas del año recoge algunas de las versiones que más nos han gustado en 2024.Playlist;(sintonía) THE IMPERIAL SURFERS “Surf rat” (The Satans)THE MORELLS “Laid off” (Esquerita)RAY COLLINS' HOT-CLUB “New kind of kick” (The Cramps)THE COURETTES “Bikini girls with machine guns” (The Cramps)THE CABRIANS “Anarchy” (Sex Pistols)PAT TODD and THE RANKOUTSIDERS “Tower of song” (Leonard Cohen)THE PEAWEES “Don’t look back” (The Remains)THE FUZZY FOR HER “Haz el amor” (The Grabbeltons)SID GRIFFIN “Femme fatale” (The Velvet Underground)MAXIM LUDWIG and ANGEL OLSEN “I can’t stand it” (The Velvet Underground / Lou Reed)GREG “STACKHOUSE” PREVOST “Learning the game” (Buddy Holly)THEE CHA CHA CHAS “It’s all over now baby blue” (Bob Dylan)THE FLESHTONES “Love me while you can” (Johnny Rivers)THE HILLBILLY MOON EXPLOSION “Primitive” (The Groupies)MICK HARVEY “We had an island” (Fatal Shore)THE SURFRAJETTES “Sugar town” (Nancy Sinatra)JOHNNY CASINO “Eight miles high” (The Byrds)Escuchar audio

Ep393-Art Bell-Hal Lindsey-Bible Prophecy. Nancy Sinatra

I grew up listening to my Dad's Sinatra LPs, and was an Elvis fan, so it was surreal to have this chat on the phone with Nancy. Even more so to see we agreed about Elvis's gospel songs

Send us a textOn this episode, Tom and Bert discuss their TOP 10 of the Greatest Make Out Songs of the decades (1950's-1960's) also with a sampling of the songs.From "Our Day will Come" by Ruby and the Romantics (1:05); to "Cupid" by Sam Cooke (2:55); "Since I fell for You"  by Lenny Welch (3:30); To "Hey Girl" by Freddie Scott (6:52); then "Under The Boardwalk" by the Drifters (7:20); they keep things rolling. Then some "classics" like "Louie, Louie" by the Kingsmen (12:00); Mel Carter's "Hold Me, Thrill Me, Kiss Me" (15:06); and The Rolling Stones "Satisfaction" (17:00);We continue on with these and many other hit songs that set the mood for the "Make Out" songs genre like "These Boots are made for Walking"  by Nancy SInatra (31:41); " Groovin' " by the Young Rascals (37:54);  "Everlasting Love" by Robert Knight (42:30); and "The Stripper" by David Rose (54:50); to close out the podcast.Enjoy the show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

A.J. LambertTake a walk with me down Fascination Street as I get to know A.J Lambert. AJ is a singer, a songwriter, and now a filmmaker. In this episode, we chat about her new short film THE JUNCTION. We discuss why she wrote it, why she made it, and why she decided to make it a short film. She also shares where it can be seen, and what she hopes to gain from this project. AJ is also the daughter of Hugh Lambert and Nancy Sinatra, as well as the grand daighter of Frank Sinatra. We talk about her Siruis XM show caleld Seriously Sinatra, and how that came about, plus, i ask her if there are "gate keepers" in the music business. Naturally we talk about her family; but she also discusses losing her father at a very young age, and some of the things she missed out on; as well as some of the ways that affected her. I ask AJ about her music, and she even lets me play one of her songs! Look for AJ everywhere that you listen to music, and wherever you see short films.

La disquera Hi-Tide Recordings, ubicada en New Jersey y comandada por Vincent Minervino y Magdalena O’Connell, seguramente sea el mayor baluarte de la música surf y el rock’n’roll instrumental que hay ahora mismo en el planeta. De sus lanzamientos del año 2024 extraemos todo el material con el que cocinamos esta selección de novedades.Playlist;(sintonía) BLOODSHOT BILL “Doomin” (Diary of the doom)BLOODSHOT BILL “Tres tacos” (Diary of the doom)I. JEZIAK and THE SURFERS “Free as the ocean”I. JEZIAK and THE SURFERS “Mummy walk”THE VOLCANICS “Hall pass”ICHY-BONS “Snake eyes”SLOWEY and THE BOATS “I’m an old cowhand” (Slowey goes West)SLOWEY and THE BOATS “Right or wrong” (Slowey goes West)THE BABALOONEYS “Sittin’ in the line” (Late to the party!)THE BABALOONEYS “King of the surf” (Late to the party!)THE HULA GIRLS “Tabou”THE BLACK FLAMINGOS “Tales from the Crypt”MESSER CHUPS “Pink Pantheratu” (Dark side of Paradise)MESSER CHUPS “Dark side of paradise” (Dark side of Paradise)THE SURFRAJETTES “Easy as pie” (Easy as pie)THE SURFRAJETTES “Sugar town” (Easy as pie)Versión y Original; NANCY SINATRA “Sugar town” (1966)THE SOUND MINDS “I’m not a bad guy”THE CHARITIES “It’s your turn”THE BABALOONEYS “Endless winter” (Late to the party!)Escuchar audio

Disney Chorus and Orchestra [00:20] "Little April Shower" Walter Disney's Story of Bambi Disneyland ST 3903 1960 Plip plop plip. You may recall from the last episode we heard a track from Stay Awake. On that album, "Little April Shower" is performed by Natalie Merchant, Michael Stipe, and the Roches (https://youtu.be/7ObPekx0h0M?si=BWAulm8X4hnsji14). Thelonius Monk [03:35] "Between the Devil and the Deep Blue Sea" Straight No Chaser Columbia CS 2651 1967 Monk takes a fine run at this standard originally recorded by Cab Calloway. Helped out here by Charlie Rouse on tenor sax, Larry Gales on bass, and Ben Riley on drums. Kyle Dixon and Michael Stein [11:14] "The Upside Down" Stranger Things - Volume One (A Netflix Series) Lakeshore Records 2016 Ah, the first season (https://youtu.be/b9EkMc79ZSU?si=8SqvgKenleN2NEJ0) was pretty near perfect. Had to go with the iconic title track. Frank Sinatra with the Nelson Riddle Orchestra [12:21] "Call Me" Strangers in the Night Reprise Records FS 1017 1966 Oddly enough, Frank has not one but two (2!) Petula Clark covers on this album including this one. I much prefer the brassy sassy production of Petula's version (https://youtu.be/M_mkSWxN2xk?si=gya-HwLlYCWK093i). Less Art [16:22] "Diana the Huntress" Strangled Light Gilead Media RELIC88 2017 Featuring members of Kowloon Walled City and Thrice. Igor Stravinsky and the Columbia Symphony Orchestra [19:34] "Firebird Ballet Suite (1945): Introduction - Prelude and Dance of the Firebird - Variations" Stravinsky Conducts Firebird Suite/Petrushka Suite Columbia Masterworks MS 7011 1967 This is the 1945 arrangement of The Firebird Suite. Roxy Music [22:44] "Over You" Street Life - 20 Great Hits EG EGTV 1 1986 A single orignally from Roxy Music's Flesh and Blood (https://youtu.be/3TL-Bc1giO8?si=FaZvmtDfdg2K-5uF). Evidently recorded as a way to tes tout Phil Manzanera's recently constructed studio. Made it as high as number 80 on the Hot 100. Death Valley Girls [26:07] "Electric High" Street Venom Suicide Squeeze SSQ181 2021 (originally recorded and released in 2014) Closing track to Death Valley Girl's debut studio album. Psych rock excellence (https://youtu.be/AO8z3AwIIaw?si=JCyzx7zyGK17UD5K). Salem 66 [31:08] "Seven Steps Down" 1984 Great Plains [mm:ss] "When Do You Say Hello" 1983 Strum and Thrum: The American Jangle Underground 1983-1987 Captured Tracks CT-302 2020 If you love jangle, you'll love Strum and Thrum. 28 tracks of jingle jangle goodness. An exceptional compilation that includes a 80 page booklet that dives into the scene. Yo La Tengo [36:39] "My Heart's Not In It" Stuff Like That There Matador OLE-1079-1 2015 It's hard to choose just once song from this album, but the opening track does a great job getting the listener in the mood for the album. It's a lovely rendition of the Gerry Goffin/Russ Titelman single recorded by Darlene McCrea (https://youtu.be/CuetP9wAHnY?si=o9YtuELwMU3C6S0v). New Order [39:25] "Sub-Culture" Sub-Culture Factory fac 133 1985 A remix by John Robie of the band's third single from Low-life (https://youtu.be/Uetuplhan_U?si=Or8I0F30teDUWLOh). The flip side is, of course, Dub-Culture. Ahmed Ben Ali [47:53] "Subhana" Subhana Habibi Funk HABIBI022 2023 That's right... reggae by way of Libya. Evidently reggae arrived right around peak Bob Marley and the Wailers and it took off from there. Barren Harvest [52:46] "Claw and Feather" Subtle Cruelties Handmade Birds HB-071 2014 Some dark and lovely ambient folk metal from Portland featuring Jessica Way of Worm Ourobouros. Nancy Sinatra [58:33] "Sugar Town" Sugar Reprise Records RS-6239 1967 A Lee Hazlewood number (naturally) that he says is an allusion to LSD sugar cubes. Featuring Wrecking Crew members including the great Carol Kaye, Glen Campbell, and Hal Blaine. Music behind the DJ: "These Boots Were Made for Walking" by Les Brown and his Orchestra

Cuti Vericad abre su consulta para hablar de hijos que siguieron el ejemplo de sus padres en la música. Suenan Frank y Nancy Sinatra, Elvis y Lisa Marie Presley, Jeff y Tim Buckley o Johnny y Rosanne Cash, entre otros.

In this week's episode of the Plural Pod, Gareth and Joel take a look at the list of releases for National Album Day. There are reviews of fresh pressings from Floating Points, Nancy Sinatra and Tindersticks. We explore the world of second-hand sales and find out some of the highest value titles snapped up recently, including something from the top of the classical pops and a one-and-done with some interesting vocals. Dani from Applestump Records in Nantwich gives us a view from the shop floor, plus we hear your views on the Mercury Prize and winners English Teacher. All this and Tom from Cheap Indie Vinyl is not only back, but with us for the second half! Keep listening to the end for a few extra musical tips.Get in touch with us via pluralofvinylpod@gmail.com or @PluralVinylPod on Twitter. You can also Whatsapp via 07455680866The Plural Of Playlist, featuring tracks discussed: https://open.spotify.com/playlist/5M566WI1NstJoQcZU0KRMR?si=8h8NUeaXR_acMIrYYQ-rDQ&pi=MBWJA5SvSUewV&nd=1&dlsi=2a5d31635f704542Join the Cheap Indie Vinyl WhatsApp channel before Tom returns soon:https://whatsapp.com/channel/0029VaWT9tnElagoIHB2ed1GResident Bargains page:https://www.resident-music.com/collection&path=57135Revived Vinyl Records reductions:https://www.revivedvinylrecords.co.uk/february-reductions Hosted on Acast. See acast.com/privacy for more information.

She's a practical genius- An actual genius, they say, —but she'll never believe it. There's no more star struck Clouds strung together With bruises All the lies and all the lairs The layers of cake For birthdays missed A Christmas present, In lessons learned The Devil wishes For her to suffer Surely, she'll come around at some point But today, of course To her dismay, It's just attention deficit And jelly fishing Was the straight jacket really necessary? You said you were going to kill everybody. I was Skrillex! Sure you were. Silence, children I'd rather than to kill you Have to feed you forever, From my breast and my loins A sour milk gon totten Than to give you all To Television dinners And seat you at Tom's Restaurant In the smoker's section Rather now I die and here Than go on knowing I may never know my whole God again, God Thereby and there I go, Open and world over closer They simply shouldn't bother With such fragile and delicate a flower That she truly has Become carnivorous There, now children I shall feed you from the fertile soil Of another world. Not forgotten, but hidden from forsaken Shallow souls of pestering man animals The shallow souls of man animals To seed the sigh of senders promise Never worth fortold by nature Never less the sounds of science Never less control of masses The masters in distress, The makers of madness The masters of distress The makers of madness The makers of chaos Worth, running For, follow Tear, sacred Tears, sacred Take her Take her Again to the way now Take her Take her Again to the fortress Take her Take her again to the world now For even in a pit of snakes, A wolf is bitten For even in a tank of sharks, the ocean The lion would never triumph Take her, Take her again to the fortress Take her again to the world now Take her, take her to forests and fire Take her again to betrothed, nature Nature Nature Fall short shadow, will you Will call it The one who comes Is also myself! O, lord! The one who calls Is also myself Oh, My Gos The one who wakes, Is also my self No, God, Foreshadow my mark Foreshadow this kindness unto man, My shadow hath quaked in the dusk Lurking in all the, mine crevices Mine shadows, Mine evils, Mine darkness, Mine envy My death Falling under water, Here I am breathing in The deep of salt, The dault of man The dusk and dawn The fortress Wait here, dear shadow, For I must creep low to supply you with light Wait here, dear captor The world you have burned from our kindle Wait here, dear mountain For many years from now, You too shall again be the ocean floor Hear now, dear birds The words of our feathers, With hands that made wings, And voices of songs, You were born Wait here, dear shadow— For I am making you heat to nourish Wait here, dear shadow, For I must lurk and creep low To supply you Wait here, my dear shadow, For truth is only in essence, Your eyes now Wait here, my dear captor For shadows have waited much longer I pray you Every fucking Friday! I almost skipped today, you know— Just as I realized The Devil would attack at the moment I might have anointed my arrival To the oncoming And the devil is mine again As he has no power at all But my own Control your wits, captain! CONTROL MY WHAT?! There's a storm a foot and we're at the helm of it! I'M AT THE HELM OF IT! AYE! AND WE! I'M THE CAPTAIN! AS I SAID, CONTROL YOUR WITS! WHO'RE YE YELLING AT?! [lightning strikes closely as the waves begin to tower aside the ship— thunder rumbles.] {Enter The Multiverse} Oh My, God—Tina Fey! Hi! I—uh—yeah. It's so nice to finally meet you. Hm. I—I was the hot water heater in your book! what's that supposed to mean. Did I read it. Working on it. Am I in it?! Why would you be? I don't know! Am I? Just— give me a few— How long is that?! What's a few?! How about a montage? CUT TO: THESE BOOTS ARE MADE FOR WALKEN. And that's—JUST—what they'll DO! And— One of these—days— These boots— Are gonna WALKEN Ova U. Nancy Sinatra is still f#cking weird. I must admit, i feel personally attacked. OH, GOD. OH NO. This is certainly the thing you do not want, When trying to erase someone entirely from existence. Or at the very least… Jesus fucking Christ. …thinking about something in any sort of way. This. …and again. Is most certainly what you don't want. My walls are closing in, full figured artifact of closure, And infact I exaggerated the fact of circumstance Because I had to Because I had to What, am I on in the other room? Supersonic as we all were, By the millions and by the numbers The simple heart attack was won, The hearty breakfast, Stripes were earned And not a one tear shed after –but my head hurts But my head hurts. You started it. I did not; but I most certainly will finish it. Quiet, they're coming. Quiet the children; Ready the talleys, Count all the votes, And stable your alters; Didn't I warn you? (I warned her!) Didn't I warn you? (I was warned) Didn't I warn you? (Why didn't you warn us?) Cause I wanted to I wanted to I wanted to hurt you. Well–dammit! What. what happened? #villain battle I can't kill you. What? Why not? It's–it's in my contract. lol damn what kind of contract did this dude sign? Lol idk tho. This could be progressive, But instead it's cynical A wizard and a mystic should make some interesting kids, though Another lesson timber, timbre all the violnisits And the brass section is fascinating, Rather–0 More percussion DId you mean this? I meant everything I ever *sneezing* *DIDN'T* Say. Gazuntite. Daggers and daggers and Daggers and I'm sorry what happened to your mailbox; And your mascot. I got ass, God. I told you. Now, what? Be strong. Okay. I'm strong. Cause here they come. Here they come what? [The lust monkeys enter rapidly.] Ah, God. The lust monkeys. The lust monkeys. The lust monkeys! Dammit! Why can't it ever be like, The trust-fund monkeys. (Sometimes it is.) I feel sick to my stomach, And made of straw; Hey scarecrow– Comeback to the Wizard of Oz Hey, scarecrow– Come back to the Wizard of Oz Hey scarecrow– Come back to The Wizard of Oz The sun don't shine on Anywhere else Like it shines on california –it shines on California, Los Angeles DAMN. LOOK AT LOS ANGELES DUSTY ASS. DAMN. LOS ANGELES? …what ? yeah! LOS ANGELES! GET YO' DUSTY ASS OVER HERE. Look at the starlit purple sky; Always follow your mother's advice Water is boiling, toil and strife; Follow your mother's advice Standing on the Rock, Aretha Franklin Don't you know I missed All the good years Cause someone hates me Cause someone hates me Don't you know I missed all the best years Cause no one loves m Cause no one loves me Cause no one loves me Your Love Keeps Me Waiting, Joey Diggs In some other city somewhere, The traffic still stops all the same All the while, I still look out the window Wishing, watching Tops of buildings thinking INT. FAIRY WORLD MARKET Oh Wanda–you look horrible. Why thank you. “Son of Sam” So wait, I– Hm? Who does she think I am? Whoever you are. [beat] Well–who am I, then? Indeed. You know, ever since Cosmo left, you haven't quite been the same. Nobody's really “the same” as they ever were…. I heard he's been drinking. He's– [another flashback] All my Love Phil Perry & Renee Rapp –always been drinking. MAN, I CAN'T GO NOWHERE IN THIS BITCH NOW I GOTTA WAIT TILL THE END OF OCTOBER TO MOVE AROUND NEW YORK WITHOUT SEEING THIS [Hello] NIGGA . I told you that was niggly nigga. —and I told you, you were starstruck. I'M NOT STARSTRUCK. Somebody! Get him on ice! Ice, Ice Baby… What the hell is this? Your uh – It's the paperwork you asked for. These are murder charges! Manslaughter, technically. “First degree murder.” Oh, that one. Yeah. THIRD degree murder? I thought that was separate– What is even the difference?! Did you get my– QUIET. You shriveled old coon! SO AM I UNDER ARREST? No ,sir– What?! I mean, yes, but– What is going on? You're like– You're filthy rich. Yeah, but. So like… So, like–I'm not going to jail. Oh. No–yes. No, you're definitely – Definitely like eventually– Definitely eventually going to jail. Dammit! But like–not today. Oh… Yeah, see. So is it like. I said that. So is it–like– I don't know. On a wire? I don't know, man. Fuck fast fridays. I'm right there with you. This is the last one. Yeah man. Forshure. “Full figured” Telepathy sucks. He was my muse By many man For no other reason Than that I cherished him I was at fault But none to blame The wiser sense that lied beyond My reckoning The wildest thoughts Bloomed as fruit from trees The nourishment Of a greater cause to die with forward blinding light Towards eternity My music Nothing greater shadow felt, Some sense in tears, Which would not fall But rain, did, somewhere Knowing that I loved him –and in my ways, This was our world, The meaning of it Strewn to words With listens; Crafting tides and stardust Out of wonder and confusion lying scattered on the tracks As I'd imagined, Disrobed and also dishonored A horror movie, And no more judgements, For it was over, and drunk The water I had poured into hearts The shadow that hung over Like a gliding ::||pause. –well wait, what kind of bird is that? …A big one. Alright, unpause.:|| Sparrow, with wings that fly only so high, for a while, as reminders That all we, Are earth bound, And by beauty and with time, Bound to one another. (Respectively.) I V Moonlight Becomes You, Johnny Mathis This is getting pathetic. Pathetic on my part, or the Illuminati's? What's the difference. –MONEY MONEY mO NOBODY'S PAYING ME. Yo, first of all– [Hey.] FUCK YOU, CUT TO: What did you say your name was again? I want to thank you for your love, The Emotions CHRIS ROCK I THOUGHT I WAS NIGGLY NIGGA. {Enter The Multiverse} [The Festival Project ™] The Complex Collective © #fastfridays {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū

blink. (instrumental) Collection 1.1 - 'actuality' Track 05. 'blink' (instrumental) Prod. By Blū Tha Gürū “Wonderful”, I mouthed silently, without the voice or the actual words for movement. I needed the laughter, and it had been long since I had actually laughed, or done much at all besides cry and wonder what the fuck I was going to actually do with my life, or what was to become of me. I held the book out to my side with one hand, the page still held with my thumb at the end of the chapter and beginning of the next, contemplating reading more— it would be an unknown amount of time before I would be here again—having fasted and walked the equivalent of what might be about 8 or 9 miles, worked out for an hour, and sweated out whatever might have been left with a soak in the tub. I was empty, closer to the divine than not, and feeling okay—not painfully hungry, but I knew that forgoing food would mean missing out on work that needed to be done, that I had been promising for months would be done, and finally was, however at a pace which only further exacerbated my anxiety further; I would only be able to focus on getting some soul-sucking, meaningless dead end job once I knew it was finished—otherwise, I knew it would be impossible to do anything; the algorithm had deemed it so that whatever I was doing, whatever I was writing, was more important than money. “That was it.” I confirmed with another silent thought, grasping the rose quartz in my left hand and raising the book with me as I crossed into the kitchen—the new addition of the couch saw to it that I had an actual living room, and though not separate from the kitchen, it was in fact a place that I could sit and read the many books I had collected one at a time—or two, for the moment. I couldn't wait to finish the page-turner I had been unable to put down for something like a week before I started this one. The frozen banana that I had forgotten I removed for the teeter in preparation to eat after a day of strenuous exercise and fasting had melted—luckily, I had frozen two of them at once, suddenly with the life force of something forgotten after my first cup of coffee in nearly three days—three days too long, and I realized my dependence on caffeine was just about as unhealthy as what was normally a constant roar of illegal immigrants on even sufferably equally illegal mopeds, as so said by the NYPD themselves, who had been blatantly useless at actually apprehending the assailants—nevertheless, at least I knew that there was a reason for the heavy exhaustion in the first place, overcompensating from the noise and civil unrest below with additional pots of coffee throughout the late afternoon and even evenings, in an attempt to sort though what would even take some writers rooms weeks or maybe even months. However, my writing and various works were even yet unfit to behold by the eyes of others—that is, besides my shadow of a podcast audience, the cult following I had gained piggybacking shamelessly uncrossing a line that had been crossed by the notorious entertainment industry itself, probably as a foreshadowing of what potential I could have, if left alone, fed, and sheltered for the right amount of time. I might have even finished by now if it weren't for the motorcycles; maybe that was the point. Maybe there was no point besides that most men are immature, useless babies; that their pride in destruction and chaos serves purpose for them to just as well be destroyed eventually themselves. Either way, I had at the very least gained a few wholehearted laughs—and now it was time to break fast. 10:00 PM, prime time for making music, but there were other important tasks at hand in order to be able to do so—and I needed the focus of a full stomach and peace of mind to do so. The peace of mind, I wasn't sure where to find—but my fridge was stocked full of food to ease the ache of an empty stomach with fruits I had been craving for days and vegetables I had collected throughout the week; errands which tasked me even further with the time to sort through the massive endeavor of making my work somehow out of thin air create an income; I had been working tirelessly for months when my food stamps were cut for ‘not complying with worth requirements' without notice. I only had one pair of wearable harems and a closet full of fashionable outward I refused to walk around in; I was fussy, and looking for a mate, not some crispy fuckboy buzzing around on a motorcycle; those days were over. Besides, the guys on Harley's were potbellied slags at best—someone else's problem, and also mine, at least sometimes. Men and their incompetence had surely set the world into a state of imbalance so deep and so heavy, it would have to take God being a woman to correct it. Nature needs Nurture. Now 30 rock was the obvious choice. —- It's getting deeper. Now I had to keep Tina Fey's book in the bathroom— the bathmat I ordered was actually more yellow than gold and differed drastically from the picture in the description, and it looked cheap and bizzare in contrast to the classy shimmering sequins silver and black curtain and stainless steel trash can which matched perfectly. I wasn't sure where it would end up—it did have the same yellow, and so I placed the book and the rug within sight of eachother, so that it gave the illusion of being matched. The curtains I bought but had used separately for window coverings and as garnish for the makeshift bookshelf in the studio—I hadn't any real curtains—the windows and walls were lined with sound absorbing audio panels, even in the kitchen where I seldom recorded, but had been plummeting through assortments of other work nonetheless, not to mention my resting recipes which were meant to be entries into an eventual cookbook, which I'm sure would come together now more quickly. The cover of the book matched the strange yellow, and rather than silver and gold it was now mismatched and looked cheap; but the bathmat could at least stay until I finished the book— which would admittedly probably be quickly; I had made it to halfway through the first book in less than a week—my first near cover-to-cover read, which if I hadn't picked up Ms. Fey's book— Ms. Fey? It sounded weird— wasn't she married? She did seem like some sort of a fairy though— a teeny, tiny pixie type lady with Godlike powers. She was some sort of God, to me, at least, I was sure of it—and probably to others. Weeks, or maybe even some months now before, reading tentatively though her Wikipedia page, I scanned over her numerous accolades—some which I hadn't even heard of, and within the first few chapters of her book, which I had picked up on an extremely strong whim to scoop out the little local library down the street, which I had admittedly decided to clear out the last two days selfishly so—but also according to Wikipedia, people weren't really reading anymore; besides that, the books seemed almost meant for me, intentioned at me with titles and colors that leaps out from the covers and pages, and some brand new. I took love in all the ways I could get—and this was one of them. It was certainly yellow and not gold. I was disappointed, but otherwise didn't care much. Now I had a reason to keep the book in the bathroom— as there certainly wasn't really any room for anymore books anywhere—and this book was special. I just didn't know why. I wondered often enough what makes someone so explicitly famous— sometimes, as it turned out, it was the effect or affect of hard work, talent, sheer grit, and an unknown amount of luck which seemed to vary from person to person. With Tina Fey, though she had been written into my own project primarily as Liz Lemon some years ago, I never knew exactly what I was looking at— but now that I was reading word for words a book first handedly written by one of my own favorite people, I knew that it had been something of a personal favor from God herself— something I didn't know I wanted or even knew existed at all— and laughs I needed. I shamelessly dangled and gushed at the book, and split my attention between the two I had so far been captivated by most— the other, memoir written by a twenty something uptown drag queen. Now I could try to collect myself into a proper person somehow, reading these works alongside writing my own, and conspiring to somehow finish not just the two originally intended music albums, but something that was actually altogether more like 4 or 5, if I could wrap my brain around counting them. I couldn't, though, right now. All I could do was soak in the tub, chugging water and reading a book, trying not to cry that the only money in the world I had were two crinkled up dollar bills in a coffee can and some change inside of a beautiful wooden box I had found on a jog through Brooklyn. {Tales of a Superstar DJ} Oh My, God—Tina Fey! Hi! I—uh—yeah. It's so nice to finally meet you. Hm. I—I was the hot water heater in your book! what's that supposed to mean. Did I read it. Working on it. Am I in it?! Why would you be? I don't know! Am I? Just— give me a few— How long is that?! What's a few?! How about a montage? CUT TO: THESE BOOTS ARE MADE FOR WALKEN. And that's—JUST—what they'll DO! And— One of these—days— These boots— Are gonna WALKEN Ova U. Nancy Sinatra is still f#cking weird. I must admit, i feel personally attacked. OH, GOD. OH NO. This is certainly the thing you do not want, When trying to erase someone entirely from existence. Or at the very least… Jesus fucking Christ. …thinking about something in any sort of way. This. …and again. Is most certainly what you don't want. My walls are closing in, full figured artifact of closure, And in fact I exaggerated the fact of circumstance Because I had to Because I had to What, am I on in the other room? Supersonic as we all were, By the millions and by the numbers The simple heart attack was won, The hearty breakfast, Stripes were earned And not a one tear shed after –but my head hurts But my head hurts. You started it. I did not; but I most certainly will finish it. Quiet, they're coming. Quiet the children; Ready the talleys, Count all the votes, And stable your alters; Didn't I warn you? (I warned her!) Didn't I warn you? (I was warned) Didn't I warn you? (Why didn't you warn us?) Cause I wanted to I wanted to I wanted to hurt you. Well–dammit! What. what happened? #villain battle I can't kill you. What? Why not? It's–it's in my contract. lol damn what kind of contract did this dude sign? Lol idk tho. This could be progressive, But instead it's cynical A wizard and a mystic should make some interesting kids, though Another lesson timber, timbre all the violinists And the brass section is fascinating, Rather– More percussion DId you mean this? I meant everything I ever– *sneezing* *DIDN'T* Say. Gazuntite. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © no vocals yet :( still having major issues with the noise. hopefully will be able to record soon- actual music lol more than just talking. hopefully. take car tho. ^.^ more mixes coming soon.

Send us a textOn this episode, we sit down with George Guerrero, a life-long New Yorker, now living on the left coast in San Francisco. George takes us back to his earliest music memories, painting vivid scenes of late-night drives with Dad in NYC to pick up Mom from her night shift at the hospital with the soulful tunes of Lou Rawls playing on the eight track player. We discuss the evolution of music technology in cars, exploring how it shapes personal and cultural identities, and reflect on the paradox of choice in today's digital age. In candid authenticity, George walks us through the moments of 9/11 as seen through someone in Manhattan on that day and opens up about the emotional solace he found in music during those tragic events, offering a poignant recount of how Des'ree's "Kissing You" became the guide that helped him create a video tribute to the make-shift memorial set-up just uptown from Ground Zero. In the closing chapters, we explore the transformative power of music in various aspects of life, from getting comfortable in the kitchen to recovery from physical injuries. George shares compelling personal stories, like how Nancy Sinatra's "These Boots Are Made for Walkin'" became a motivational anthem during his recovery from a serious ankle injury, and how, as a lifelong Yankees fan, Frank Sinatra's “New York, New York” is seared into his memory. We close with the impact of family trips, the magic of Disney experiences, and George's quest to create a more equitable financial system. This episode is a warm celebration of music's profound impact on our lives, filled with love, nostalgia, and the enduring power of melodies to bring us together.Connect w/ George on his Instagram and website. Check out Just Futures where George and his team are working to bring about a financial system that creates value for people, communities, and planet—not just a privileged few.Follow your hosts David, Raza, and Carolina every other week as they embark on an epic adventure to find the songs that are stuck to us like audible tattoos that tell the story of who we are and where we've been, to help us figure out where we're going. It's a life story told through 6 songs.RESOURCES & LINKSAre you a veteran who is struggling? Call the Veterans Crisis Line: Dial 988, then press 1.Liked songs from this life story? Check out A Life in Six Songs playlist on Apple Music and SpotifyFollow A Life in Six Songs on Instagram, LinkedIn, and YouTubeFind out more at www.alifeinsixsongs.comSupport the showCopyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commentary, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit or educational use tips the balance in favor of fair use. The original work played in this video has been significantly transformed for the purpose of commentary, criticism, and education.

Send us a textOn this episode Tom and Bert go back in time to the 1970's and discuss the Things that the COOL Cats wore during that time. Listen in as the guys cover all the styles that the Hip and Cool people made fashionable back in the days of Rock n Roll, Donna Summer, John Travolta, Disco and Punk Rock!From the "Tube Tops" (2:20); to "Micro MINI Skirts" (5:39); to "Clogs" (8:36);Then we hit up the DISCO Style "Leisure Suits" (10:47); that were all the rage when "Saturday Night Fever" hit the theaters in 1975. From "Bell Bottoms" (21:21); to the "Platform Shoes" (26:50); to "Halter Tops" (31:53); and many more styles. We close the show with the "Headscarves" and other hat wear of the day and the Nancy Sinatra "Go Go Boots" that continued the trendy shoe wear of those glorious days.Enjoy the show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

Ben Vaughn es cantante, guitarrista y compositor. Productor de leyendas como Nancy Sinatra, Charlie Feathers o Arthur Alexander. Autor de bandas sonoras para películas, documentales o series de televisión. Ha grabado discos con Alex Chilton o Kim Fowley. Incluso grabó un álbum dentro de un coche. Un auténtico omnívoro musical con cuarenta años de trayectoria a sus espaldas y un legado de canciones brillantes que van de los sonidos experimentales al sonido acústico más intimista pasando por todos los estilos que ha dado el viejo rock’n’roll. Lo cazamos junto a su guitarra en medio de una gira española que a partir de hoy continúa sin banda.Playlist;BEN VAUGHN “Too sensitive for this world” (Vaughn sings Vaughn vol. 2, 2007)BEN VAUGHN “In my own reality” (The world of Ben Vaughn, 2022)THE MORELLS “You’re gonna hurt yourself” (You’re gonna hurt yourself, 2024)BEN VAUGHN “The man who has everything” (Dressed in black, 1990)BEN VAUGHN COMBO “Sleepless nights” (The many moods of Ben vaughn, 1986)BEN VAUGHN “Heavy machinery” (Rambler 65, 1995)BEN VAUGHN “7 days without love” (Rambler 65, 1995)BEN VAUGHN “Miss me when I’m gone” (Texas road trip, 2014)BEN VAUGHN “Six by six” (Texas road trip, 2014)BEN VAUGHN and KIM FOWLEY “Kings of saturday night” (Kings of Saturday night, 1995)ALAN VEGA, ALEX CHILTON and BEN VAUGHN “Candy man” (Cubist blues, 1996)BEN VAUGHN COMBO “Vibrato in the grotto” (single, 1985)BEN VAUGHN “Bushfire” (Designs in music, 2006)THE BEN VAUGHN QUINTET “Jukebox jukebox” (Five by five EP, 2015)BEN VAUGHN “Darlene” (Directo en El Sótano)BEN VAUGHN “Google translate” (Directo en El Sótano)BEN VAUGHN “Clothes don’t make the man” (Beautiful thing, 1987)Escuchar audio

On our first episode of YOU DON'T KNOW DICK since Roger Corman's passing at the age of 98 we've brought in those ringers from The New World Pictures Podcast to help us discuss Corman's lasting legacy, their favorite Roger Corman-directed films, biker gangs and biker movies, and - specifically - 1966's THE WILD ANGELS featuring Peter Fonda, Nancy Sinatra, Bruce Dern, Diane Ladd and - OF COURSE- the legendary Dick Miller. Check it out, you squares!  The post Episode 237 – You Don't Know Dick – The Wild Angels (1966) (/w The New World Pictures Podcast) first appeared on Cinema Smorgasbord.

Andy eases you in this week with a classic from Radiohead and a beauty from Kate Bush; The usual Monday melange takes us from Nick Cave to Canned Heat to Nancy Sinatra via Oasis, Georgie Fame, Procul Harem, Diana Ross,Ray Lamontagne and a whole lot more besides. Enjoy!! Tune into new broadcasts of Uncorked LIVE, Mondays from 8-10 AM EST / 1 - 3 PM GMTFor more info visit: https://thefaceradio.com/uncorked//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

In this episode I talk with Don Randi.Don is an LA legend. He's a keyboard player, songwriter, band leader and was a member of the Wrecking Crew. He has played on so many albums I can't count . But notable recordings are The Beach Boys, Nancy Sinatra and many others.

Born in Mount Ephraim, New Jersey, Vaughn grew up in Collingswood, New Jersey, outside Philadelphia.[2][3] At age 6, his uncle gave him a Duane Eddy record and forever changed his life. He started playing the drums in a garage band when he was 12, then transitioned to the guitar. After school, he would go to a local department store, where he would borrow the guitars and practice over chord sheets.[4] He attended Audubon High School.[1]In 1983, he formed the Ben Vaughn Combo. The band was together for five years, releasing two albums and touring the U.S. several times. They received rave reviews in Rolling Stone and People magazines as well as video airplay on MTV. The attention inspired Marshall Crenshaw to record Vaughn's "I'm Sorry (But So Is Brenda Lee)" for his Downtown album. Vaughn embarked on a solo career in 1988, recording several critically acclaimed albums, touring extensively in Europe and the U.S., and receiving more MTV exposure. During that period he produced three records for the Elektra Records American Explorer series (Memphis rockabilly legend Charlie Feathers, Muscle Shoals country soul singer Arthur Alexander) and recorded "Cubist Blues" a collaboration with Alan Vega and Alex Chilton. He also scored two films (Favorite Mopar and Wild Girl's Go-Go Rama), as well as appeared as a frequent guest commentator on nationally syndicated radio shows Fresh Air and World Cafe. In 1995, Vaughn moved to L.A. and released "Instrumental Stylings," an album of instrumentals in a variety of styles. A guest appearance on KCRW's "Morning Becomes Eclectic" led directly to being hired as the composer for the hit TV sitcom 3rd Rock from the Sun. That '70s Show soon followed, and for the next ten years, Vaughn would provide music for a dozen other TV shows and pilots (Men Behaving Badly, Normal, Ohio, Grounded for Life). He also provided scores for several films (Psycho Beach Party, The Independent, Scorpion Spring) and continued producing records (Ween, Los Straitjackets, Mark Olson of the Jayhawks, Nancy Sinatra, and the Swingers soundtrack CD). Support the Show.It's Rock 'n' Roll Fridays!FacebookYoutubeInstagramWebsite Got a Great Musical Story? Be a guest, email us: michael@michaeldmarketing.com

Welcome to our podcast where we discuss and deliberate over memoirs and biographies found in thrift shops. This is a great way to do things as we are not choosing who to read about. We may not be fans of the person, we may never have heard of the person and we never know who we are going to find next...There are only 2 rules to this podcast. The book has to be found in a thrift shop and we are not allowed to talk about the book until we press record, which is sometimes agonising.We have lots of episodes coming up so if you find yourself enjoying our podcast, please be sure to subscribe to be among the first to hear about each episode.Support the Show.

Tommy Tedesco (1930-1997) was an American guitarist who worked for almost 40 years and had one of the greatest careers as a studio musician in Los Angeles and Hollywood. He performed on a gazillion of recording dates, including thousands of film and television scoring sessions for virtually all the major film composers in Hollywood. Tedesco was part of an unofficial collective of studio musicians labeled as "The Wrecking Crew," who performed (often uncredited) on an impressive amount of recordings for pop and rock artists between the late 1950s and the early 1980s, including such big stars as Frank Sinatra, Elvis Presley, The Beach Boys, The Mamas & The Papas, Sonny & Cher, Barbra Streisand, Nancy Sinatra, The 5th Dimension, The Byrds, and many others. In this episode of the "L.A. Studio Legends" series, producer and director Denny Tedesco talks about the extraordinary career of his father Tommy, from his early days as a young guitar player to the peak years of The Wrecking Crew, going in detail about his many experiences playing for John Williams on numerous projects, including such film scores as Conrack, The River and Indiana Jones. Denny also reflects on his father's unique legacy and how he celebrated it through his own documentary film The Wrecking Crew. For more detailed information, go to https://thelegacyofjohnwilliams.com/2024/07/19/tommy-tedesco-podcast/

durée : 01:59:28 - Mélanges apéritifs (3/3) : Instants pop et ambiances planantes - par : Thierry Jousse - "Au programme de ce troisième et dernier mélange apéritif, chansons pop, spiritual jazz et musiques latines. Avec, entre autres, Nancy Sinatra, Paul Weller ou Kamasi Washington… Ça plane pour nous !" Thierry Jousse

In this episode we flex our massive biceps and with the voice of a fallen angel in a roid filled rage scream for the blood of all the gods. We're looking at Danzig's debut album, titled Danzig. Look at least this time there isn't also a song on it called Danzig, so that's something new for one of these debut album episodes.Special guest stars include VANILLA ICE, Misfits, Glenn Danzig, Elvis Presley, Jim Morrison, Nancy Sinatra, Samhain, Halloween, Initium, Samhain III: November Coming Fire, Unholy Passion, Plan 9 Records, Metallica, The $5.98 Garage Days Re-Revisited E.P., Lars Ulrich, Rick Rubin, Cliff Burton, Def American Recording, Final Descent, Less Than Zero, Iron Man, Generation X, Kurt Cobain, Courtney Love, You and Me, Life Fades Away, Roy Orbison, Eerie Von, Robert Downey Jr, Traveling Wilburys, Sistinas, John Christ, Chuck Biscuits, Atlantic Recording Studios, Twist of Cain, Soul on Fire, Am I Demon, Possession, End of Time, Evil Thing, She Rides, Lilith, Tik Tok, Bible, Not of This World, Kingdom of Christ, alien invasion, The Hunter, Booker T and The MG's, Mother, Tipper Gore, Parents Music Resource Center, NWoBHM, New Wave of British Heavy Metal, The Crown, Game of Thrones, Dungeons and Dragons, Washington, Show No Mercy, Slayer, W.A.S.P., WASP, White House, PMRC, James Hetfield, Marvel, The Saga of Crystar, Crystal Warrior, Michael Gordon, The Crimson Ghost, MRS LOVEJOY, Shout at the Devil, Vince Neil, Motley Crue, George Orwell, 1984, John Bunyan, The Pilgram's Progress, U.S. Billboard 200, #SketchComedy #Sketch #Comedy #Sketch Comedy #Atheist #Science #History #Atheism #ConspiracyTheory #Conspiracy #Conspiracies #Sceptical #Scepticism #Mythology #Religion #Devil #Satan #Skeptic #Debunk #SatanIsMySuperhero #Podcast #funny #sketch #skit #comedy #comedyshow #comedyskits #HeavyMetal 

Lee is joined this episode by his friend and fellow podcaster Cameron Scott to continue the podcast's extended look at Roger Corman-directed and produced films. This time out its two wildly different motorcycle films, the first being Corman's own "The Wild Angels" (1966), starring Peter Fonda, Nancy Sinatra, Bruce Dern and Diane Ladd as members of a violent, and unfortunately, quite rapey chapter of the Hells Angels. Then it's David Carradine and Claudia Jennings in the spiritual sequel to "Deathrace 2000", "Deathsport" (1978), directed by Allan Arkush, Nicholas Niciphor & Corman. Does a production so troubled as this film had equal a terrible finished product, or are there joys to be had with such a jumbled mess? Put on your helmet, hop on our future bikes, and find out! "The Wild Angels" IMDB  "Deathsport" IMDB https://www.imdb.com/title/tt0077414/reference/ Check out Cameron's podcasts at Cinema Degeneration.  Check out Lee and Cameron's podcast with Gary Hill, Last Call at Torchy's, under the Butcher Shop family of podcasts.  Featured Music: "Midnight Rider" by The Hands of Time; "The Wild Angels Ballad (Dirge)" by Davie Allen and The Arrows; and music from "Deathsport" by Andy Stein.

Don Randi is a keyboard player, bandleader, longtime nightclub owner (no easy feat in L.A.) and a veteran of one of the most prolific and successful group of Los Angeles studio session musicians known as The Wrecking Crew.He began his career as a professional pianist and keyboard player in 1956, gradually establishing a reputation as a leading session musician. In the early 1960s, he was a major contributor, as musician and arranger, to producer Phil Spector's "Wall of Sound". He also played piano on "These Boots Are Made For Walkin'," by Nancy Sinatra, and The Beach Boys' "Good Vibrations". He's  played on over three hundred hit records, working with musicians such as The Ronettes, Darlene Love, Linda Ronstadt, Quincy Jones, Cannonball Adderley, Herb Alpert, Neil Diamond, The Jackson 5, James Brown, Sarah Vaughan, Frank Zappa and many, many more!He appeared on, and wrote for, many motion picture and television soundtracks, commercials and pop albums during the 1960s and 1970s. He also recorded albums of piano jazz music under his own name and as the leader of a trio with Leroy Vinnegar and Mel Lewis. These included Feelin' Like Blues (1960), Where Do We Go From Here (1962), Last Night (1963), and Love Theme From "Romeo And Juliet" (1968).In 1970, he opened the Baked Potato Jazz Club, and formed his own group, Don Randi and Quest, as the house band. The band have subsequently recorded over 15 albums and were nominated for a Grammy in 1980 for the album New Baby.In 2008, as a member of the "Wrecking Crew", Randi was inducted into the Hollywood RockWalk.Source: https://www.last.fm/music/Don+Randi/+wikiSource: https://www.wreckingcrewfilm.com/Source: https://www.thebakedpotato.com/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the Show.

This week's show, after a 1966 Bee Gees belt: brand new Guided By Voices, Blushing, Pernice Brothers, Black Watch, Libertines (U.K.), Carina Messier, and Ride, plus Nina Simone, Chuck Berry, Dolly Parton, Guess Who, Nancy Sinatra, Jacob Miller, and Sta...

durée : 01:31:52 - Le Grand dimanche Soir - par : Charline Vanhoenacker, Guillaume Meurice, Juliette ARNAUD, Aymeric LOMPRET - Le rappeur et réalisateur Abd al Malik nous parle de sa série "9.3 BB" diffusée sur France TV Slash dès le 19 avril. En live, on part dans un casse-tête musical avec le groupe Donna Blue et leur titre "Labyrinthe" avant une reprise de Nancy Sinatra & Lee Hazlewood : "Summer Wine". - invités : Abd Al Malik, Donna Blue - Abd Al Malik : Rappeur, slameur et auteur, Donna Blue : Duo musical originaire des Pays-Bas - réalisé par : François AUDOIN

Gurdip returns this week for a lively discussion about the soundtrack to Elvis' 1968 film "Speedway," which co-starred Nancy Sinatra, who features on two tracks, making her one of the few artists to ever appear on an album with Elvis during his lifetime. The guys dig a bit into the recording sessions (which, minus Sinatra's contributions, were primarily done at MGM's soundstage instead of at RCA Studio B as usual) and how this move affected the production quality of the album, the poor choice of promotional single material, unfortunate timing of the film & soundtrack's release, and ponder how Elvis' final soundtrack LP for a fictional film managed to, like the first movie album from 11 years earlier, end up with nearly half the songs featured not even appearing in the film itself.  The guys also catch up on a bunch of listener emails, and then for Song of the Week, Gurdip selects Elvis' unique 1957 interpretation of the spiritual "I Believe," while Justin goes much lighter, picking "Poor Boy," recorded for and featured in his first feature, Love Me Tender. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. 

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 second 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 "With a Little Help From My Friends" by Joe Cocker. 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 the first 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, 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. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

How many engineers can you fit on a podcast? Pete, John and Brandon talked about the good and bad of a shared studio, Atmos mixing and mastering, how to make great bass, vinyl records, and why their worst day is better than most jobs' best days! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guests today are Pete Lyman, John Baldwin & Brandon Towles mixing, mastering, and cutting vinyl at Infrasonic Sound East here in Nashville. Pete Lyman who has been a guest on episode RSR165 is a GRAMMY-nominated mastering engineer, and owner of Infrasonic Mastering, an audio and vinyl mastering studio with locations in Los Angeles, CA and Nashville, TN. Pete's digital and vinyl mastering career spans thousands of titles with clients like Chris Stapleton, Jason Isbell, Brandi Carlile, Sturgill Simpson, John Prine, Weezer, Panic! At the Disco and more.   John Baldwin is a GRAMMY-nominated mastering engineer based in Nashville, TN. In 2010 John launched John Baldwin Mastering out of a studio he built in his house, eventually moving to Historic RCA Studio A. John joined the Infrasonic Mastering roster in 2021, bringing a wide spectrum of genres and skills, including restoring and remastering from vinyl and tape. His discography includes artists such as Nancy Sinatra, Deer Tick, Emmylou Harris, The Jesus Lizard, Sly Stone, The Stone Roses, Margo Price, Delta Spirit, and many others INCLUDING Twiggs II a record I produced at The Toy Box Studio. Brandon Towles is a Mixing Engineer and Assistant/Engineer/All Around Good Guy to multi-Grammy winner F. Reid Shippen. Originally from Georgetown, KY, after traveling the country for a few years, Brandon landed in Nashville to work with Reid and Infrasonic Immersive. He has Co-Mixed and Assisted on projects for artists including Dierks Bentley, Keke Palmer, Parker McCollum, The Aces, Kenny Chesney, and many more. Outside of music, Brandon loves playing basketball, the Detroit Lions, and very, very short walks on the beach. Thank you to Raelynn Janicke for setting this interview up! THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.native-instruments.com use code ROCK10 to get 10% off! https://lewitt.link/rockstars https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com use code ROCK10 to get 10% off any individual plugin! https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to these guests' discography on Spotify: Pete Lyman: https://open.spotify.com/playlist/7MjQvecFkWiCvpVubFQ1Xe?si=8a3c8e75085945b1 John Baldwin: https://open.spotify.com/playlist/5Bc7sk7fQyTR4zIGpukczw?si=8e56f9203b114ee8 Brandon Towles: https://open.spotify.com/playlist/5cYne80PW7Q0RJgBHzzNNn?si=b8ca212e598247db If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/434

GGACP celebrates the life and career of the late actor David McCallum by revisiting this interview from 2019. In this episode, David talks about his days as a sex symbol and pop culture sensation, his lesser-known recording career, his star turn in a memorable “Outer Limits” episode and his roles in the film classics “A Night to Remember” and “The Great Escape.” Also, David hosts “Hullabaloo,” sings with Nancy Sinatra, cuts the rug with George Burns and shares a bill with Ray Charles and Ike & Tina Turner. PLUS: “Frankenstein: The True Story”! The durability of “Ducky” Mallard! The secret origin of Illya Kuriyakin! John Huston torments Montgomery Clift! And David remembers his friend and co-star Robert Vaughn! Learn more about your ad choices. Visit megaphone.fm/adchoices