Podcasts about Nesmith

Alex and Facci are back to recap the Pacers blowout loss to the Kings, the return of Haliburton and Hield to Sacramento, Domas' first game against the Pacers since being traded, Jalen Smith's awesome night, Mathurin winning East Rookie of the Month, how opposing teams might be on to something doubling Haliburton and defending Myles a certain way and lastly Alex describes Nesmith's shot to an arcade game. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In segment one, Alex and Facci discuss the Pacers brutal loss to the Clippers, how the Clippers defensive adjustments might be a blueprint for other teams moving forward, Jalen Smith's career night and do a deep-dive on Aaron Nesmith's November and discuss if he should be starting. In segment two, the guys look back at the Pacers awesome come from behind victory over Brooklyn, Mathurin's 16-point 4th quarter, Hield's best game of the season, Myles awesome performance, Haliburton's 15 assists and zero turnovers as well as what the Nets did wrong that Indiana was able to attack. Lastly, the guys discuss the upcoming games against the Lakers and Kings. How both games present interesting storylines and how important it would be for Haliburton and Hield to get a W against their former team. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Playlist: 1. Vince Guaraldi Trio - Thanksgiving Theme 2. Lambchop - Up With People 3. Sly & The Family Stone - Thank You (Falettinme Be Mice Elf Agin) 4. The Chambers Brothers - Love, Peace & Happiness 5. ZZ Top - I Thank You 6. Paul Revere & The Raiders - Freeborn Man 7. Wilco - I'm The Man Who Loves You 8. Neko Case & Her Boyfriends - Thanks A Lot 9. Bonnie "Prince" Billy - I Send My Love To You 10. Chilli Willi & The Red Hot Peppers - I'll Be Home (with Nesmith) 11. Bob Dylan - Country Pie 12. Brewer & Shipley - Time & Changes 13. Barefoot Jerry - Hospitality Song 14. Ray Stinnett - Liberty Train 15. The Band - The Night They Drove Old Dixie Down 16. The Byrds - I Am A Pilgrim 17. Kinky Friedman - Sold American 18. Guy Clark - Texas Cookin' 19. The Felice Brothers - Take This Bread 20. New Riders Of The Purple Sage - Dim Lights, Thick Smoke (And Loud, Loud Music) 21. Buffy Sainte-Marie - America The Beautiful 22. Laura Veirs - America 23. Drive-By Truckers - The Thanksgiving Filter 24. Son Volt - Living In The USA 25. Jeff Tweedy - C'mon America 26. The Popcorn Orchestra - Alice's Restaurant 27. Ted Nugent - Homebound 28. Steely Dan - Black Friday 29. Yes - America 30. Stingray Green - Goin' Home 31. 20/20 - Life In The U.S.A. 32. Alice Cooper - Long Way To Go 33. Aerosmith - Make It 34. The Modern Lovers - Modern World 35. Cheap Trick - Southern Girls 36. Tom Petty & The Heartbreakers - American Girl 37. The Monkees - Long Title - Do I Have To Do This All Over Again 38. R.E.M. - All The Right Friends 39. Big Star - Thank You Friends 40. The Mothers - America Drinks & Goes Home 41. William S. Burroughs - A Thanksgiving Prayer Image: y'all down South Carolina, 2007 Podomatic: https://soulshenanigans.podomatic.com Apple Podcasts: https://apple.co/3fYzstV Google Podcasts: https://bit.ly/331g0tM Amazon Music: https://amzn.to/32OIqGI TuneIn Radio: https://bit.ly/30UUPIu Mixcloud: https://www.mixcloud.com/soulshenanigans Twitter: @soulshenanigans Facebook: soulshenanigans Email: soulshenanigans@gmail.com

Alex and Facci are BACK and the Pacers continue to rack up the wins in the month of November! The guys discuss the Pacers latest victory over the Orlando Magic, Aaron Nesmith stepping up big time, Tyrese playing through an ankle injury and what Rick Carlisle had to say about Haliburton's insistence to play! They also touch on the other players who impacted the 1-point win! Then, Alex and Facci look at some of the terrific numbers from the Pacers in November and discuss in-depth about what's been the reason they are winning so many games! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Denver Nuggets vs. Indiana Pacers NBA Pick Prediction 11/9/2022 by Tony T. Nuggets at Pacers—Gillespie out for Denver with Smith an Nnaji doubtful. Duarte and Theis out for Indiana with Nesmith questionable. Denver is 7-3 following their 115-109 road win at San Antonio Spurs. Nuggets hit on 53% in the win with 33% from three. They survived 20 turnovers. Nikola Jokic had 26 points and ten assists.

New Orleans Pelicans vs. Indiana Pacers NBA Pick Prediction 11/7/2022 by Tony T. Pelicans at Pacers—Lewis and Lidell out for the Pelicans with Williamson questionable. Duarte and Theis out for Indiana. Nembhard and Nesmith are questionable. New Orleans are 5-4 following their 124-121 home overtime defeat to the Atlanta Hawks. They did pull down nine more rebounds than the Hawks Pelicans converted 44% from the floor along with 30% from three.

Raney Linck DNP, RN, is Inaugural Nursing Faculty and Assistant Professor at the Susan S. Morrison School of Nursing at the University of St. Thomas in St. Paul, Minnesota. Dr. […]

To open up the show, Alex and Facci share some details on their meet and greet that's taking place Wednesday during halftime! Then, the guys dive right into the Pacers impressive win over Miami, and discuss the unfortunate injury to Chris Duarte. Then, the guys discuss whether or not Mathurin should get the start with injuries to Nesmith and Duarte, and Facci gives a very strong take on this! Later, Alex asks Facci if any of these Pacers wins have really been that shocking. The guys discuss all that and give a shoutout to the Mad Ants for their two wins, behind the play of Queen and York! We appreciate the support of the show everyone! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Miami Heat vs. Indiana Pacers NBA Pick Prediction 11/4/2022 by Tony T. Heat at Pacers—Butler, Jovic, Oladipo and Yurtseven out for Miami with Adebayo questionable. Nesmith questionable for Indiana with Theis out. Miami moved to 4-5 after their 110-107 home win to the Sacramento Kings. Heat shot 49% from the floor with 32% from three. They did allow 48% shooting to the Kings with 36% from beyond the arc. Indiana enters at 3-5 following their 116-109 road defeat at Brooklyn.

Andrew Sandoval talks The Monkees"Headquarters Super Deluxe Edition" available exclusively at monkees.comMicky Dolenz announces upcoming 2023 solo tour “The Monkees Celebratedby Micky Dolenz”with performance of the Headquarters album each night plus all of the band's biggest hits!Tickets on sale this friday Pre order code "Zilch"This Limited edition 4-cd/7” vinyl set revisits the entire headquarters project with 69 previously unreleased recordings, including the entire album newly remixed, the debut of backing tracks made for an abandoned version of the album, the band's earliestdemo recordings, and more monkees studio outtakesEACH NIGHT PLUS ALL OF THE BAND'S BIGGEST HITSTICKETS ON SALE THIS FRIDAY Presale code "Zilch"Limited Edition 4-CD/7” Vinyl Set Revisits The Entire Headquarters Project With 69 Previously Unreleased Recordings, Including The Entire Album Newly Remixed, The Debut Of Backing Tracks Made For An Abandoned Version Of The Album,The Band's EarliestDemo Recordings, And More Monkees Studio Outtakes. Go to www.monkees.comCheck out Music from thr Monkeesverse on Monkee Mania Radio, 24/7 with Ken Mills, Christine Wolfe and a bunch of DJs that are bringing you music you will love..Listen here https://live365.com/station/Monkee-Mania-Radio-a57014We were born to love one another.Support Zilch, get a cool shirt!www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-artJoin our Facebook pageIf you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

Brothers Phil & Warren are joined by award winning filmmaker and actor Jon Gillette as they're beamed up to the Protector for a deep dive into the sci-fi comedy cult classic “Galaxy Quest.” Topics include: behind the scenes (7:15), the stars of the picture (18:45), stats & accolades (31:10), best scenes & lines (40:30), Judge Bob's recasting court (1:01:15), and the film's legacy & lore (1:25:15), plus much more.

Indiana Pacers vs. Brooklyn Nets NBA Pick Prediction 10/31/2022 by Tony T. Pacers at Nets—Theis out for Indiana with Nesmith and McConnell questionable. Warren out for Brooklyn with Curry questionable. Indiana is 3-4 with their 125-116 road win at Brooklyn Nets. Pacers shot 43% in the win with 50% from three. Haliburton led the starters with 26 points and eight assists.

Alex Golden and Michael Facci recap the Pacers wins against the Brooklyn Nets and Washington Wizards. The guys discuss Mathurin dropping 32-points off the bench, the type of season Haliburton has had, Buddy's hot shooting, I Jax growing as a player already this season, Nets in shambles after loss, Myles big night in Washington, Nesmith's best Pacers game, Carlisle's absence on Friday nights game and Jalen Smith's weekend. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Steve Harper Interviews Anna Lovell-Nesmith Professional Burnout Specialisthttps://onlineradiobox.com/search?cs=us.pbnnetwork1&q=podcast%20business%20news%20network&c=ushttps://mytuner-radio.com/search/?q=business+news+networkhttps://streema.com/radios/search/?q=podcast+business+news+network

Steve Harper Interviews Anna Lovell-Nesmith Professional Burnout Specialisthttps://onlineradiobox.com/search?cs=us.pbnnetwork1&q=podcast%20business%20news%20network&c=ushttps://mytuner-radio.com/search/?q=business+news+networkhttps://streema.com/radios/search/?q=podcast+business+news+network

DB chats with ball striking wizard and PGA TOUR pro, Matt NeSmith. Matt is a total golf addict in every way. The guys discuss how Matt nerds out on his golf stats, his thoughts on LIV GOLF, a few hilarious Si Woo Kim one liners, the courses he's best set up to win on, his fantasy football affinity and more. Matt was a lot of fun, laid back and entertaining. You'll enjoy this one. Please support the podcast further by doing a few things to spread the TJ Gospel: Join Goalby's Nut Hut, our private DISCORD chat w/ > 400 golf loving, DFS & Betting fans. Join a limited, free Nut Hut on DISCORD Sign up for the “Heavy Petting” & “Chalk Bomb” emails for free that hit your inboxes every Tuesday & Wednesday. Get exclusive membership discounts at Fantasy National Golf Club by using this link. Leave an honest iTunes Review. DB & Pat love reading all of these. It improves the show.

The guys open up the show recapping their weekend of disappointment as sports fans but how they're excited for the upcoming Pacers season. Then dive into the bad news of Aaron Nesmith and his plantar fascia injury...how does that injury impact the rotation and is it something to be concerned about longterm! Next, the guys answer 8-questions from the mailbag sent in by: Sam Culbertson, Aaron M, Dalton Chubb, Ricky Kelly, DonTrell Bullies, Matthew Peck, Juan Judah and Aimee Facci. -Pacers Ceiling -Bold Predictions -Excitement for this season compared to others -How many games till Rick has to start Bennedict Mathurin -three team trade idea between Indy, Golden State and the Lakers -Trade value for Theis and Goga -How many games does Mathurin start this year -What will it take for Facci to eat a...PICKLE????? Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Indiana Pacers opened up preseason play win a 122-97 win over the Charlotte Hornets. Host Tony East breaks down the win, including the Pacers impressive defense, elite foul shooting, and rotations. He also breaks down solid performances from Aaron Nesmith and Bennedict Mathurin. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONNBA PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON Learn more about your ad choices. Visit podcastchoices.com/adchoices

Steve Harper Interviews Anna Lovell-Nesmith Professional Burnout Specialisthttps://onlineradiobox.com/search?cs=us.pbnnetwork1&q=podcast%20business%20news%20network&c=ushttps://mytuner-radio.com/search/?q=business+news+networkhttps://streema.com/radios/search/?q=podcast+business+news+network

Alex and Facci share their thoughts on the Pacers first preseason action! Who stood out for the Pacers and what we thought of the rotation! Later, Scott Agness joins the show and gives his takeaways for the Pacers first preseason game, a little Pacers Season Preview and the Pacers executives being out in Las Vegas to watch Wembanyama + Scoot Henderson! Learn more about your ad choices. Visit podcastchoices.com/adchoices

My guest in this episode is Ernest Nesmith. Ernest brings over 15 years of financial services experience that include wealth management, insurance planning, and tax consulting. Ernest leverages the experience gained working in the corporate divisions of three Fortune 100 companies that include Bank of America and Merrill Lynch. In this episode Ernest shares a cashflow opportunity with trucks. Interview Links:   Rognes Consulting   Episode Sponsors: Producers Wealth: Create Your Own Banking System In 30 Days Or Less www.producerswealth.com Pantheon Investments: Build holistic wealth to achieve financial freedom in any economy www.pantheoninvest.com GoBundance: The Tribe For Healthy, Wealthy, Generous Men Who Choose To Lead EPIC Lives www.gobundance.com The Real Asset Investor: Build Wealth With Higher Yield Cash Flow www.therealassetinvestor.com Penumbra Solutions: Buy Your Equity Like Institutions With Life Settlements www.thepenumbraplan.com  - password “penumbra” Producers Capital Partners: Multiply Capital Through Alternative Investments  www.producerscapitalpartners.com Lavish Keys: Your Turnkey Solution For Luxury Short Term Rentals www.lavishkeys.com Grab My Book: The 21 Best Cashflow Niches™: www.cashflowninja.com/21niches Programs: The Cashflow Ninja Cashflow Investors Club™: www.cashflowninja.com/club Your Own Banking System™ : www.yourownbankingsystem.com Your Own Family Office™: www.cashflowninja.com/familyoffice The Crypto Investing Method™: www.cashflowninja.com/crypto The Cashflow Creator Formula™: www.cashflowninja.com/creator The Cashflow Core Builder™: www.casflowninja.com/core The Cashflow Multiplier™: www.cashflowninja.com/multiplier The Cashflow Quantum™: www.cashflowninja.com/quantum Connect With Us: Website: http://cashflowninja.com Podcast: http://cashflowinvestingsecrets.com Facebook: https://www.facebook.com/cashflowninja/ Twitter: https://twitter.com/mclaubscher Instagram: https://www.instagram.com/thecashflowninja/ Pinterest: https://www.pinterest.com/mclaubscher/cashflow-ninja/ Linkedin: https://www.linkedin.com/in/mclaubscher/ Youtube: http://www.youtube.com/c/Cashflowninja Bitchute: https://www.bitchute.com/channel/cashflowninja/ Rumble: https://rumble.com/c/c-329875 Odysee: https://odysee.com/@Cashflowninja:9 Gab Tv: https://tv.gab.com/channel/cashflowninja Brighteon: https://www.brighteon.com/channels/cashflowninja Parler: https://parler.com/profile/cashflowninja/ Gettr: https://gettr.com/user/mclaubscher Gab: https://gab.com/cashflowninja Minds: https://www.minds.com/cashflowninja Biggerpockets: https://www.biggerpockets.com/users/mclaubscher Medium: https://medium.com/@mclaubscher Substack: https://mclaubscher.substack.com/

 Steve Harper Interviews Anna Lovell-Nesmith Professional Burnout Specialisthttps://onlineradiobox.com/search?cs=us.pbnnetwork1&q=podcast%20business%20news%20network&c=ushttps://mytuner-radio.com/search/?q=business+news+networkhttps://streema.com/radios/search/?q=podcast+business+news+network

Zilch#181 with Glenn Gretlund & Mark Kleiner from "7a" discuss their new Micky, Davy & Peter releases. For more Monkee related releases, please visit: www.7arecords.com Aired 9/20/22Check out Music from thr Monkeesverse on Monkee Mania Radio, 24/7 with Ken Mills, Christine Wolfe and a bunch of DJs that are bringing you music you will love..Listen here https://live365.com/station/Monkee-Mania-Radio-a57014We were born to love one another.Support Zilch, get a cool shirt!www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-artJoin our Facebook pageFind us on Twitter @ZilchcastIf you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

Keith Smith of Celtics Blog and Spotrac joins Facci to revisit the Celtics acquiring Malcolm Brogdon and what the Pacers can expect from Nesmith and Theis. Then, the guys discuss how long the Pacers rebuild will last, which teams will likely finish with the worst three records in the NBA and then they give their NBA Finals (WAY TOO EARLY) predictions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

TJ McConnell, Aaron Nesmith, and Andrew Nembhard all have something to prove for the Indiana Pacers this season. Host Tony East previews the upcoming season for all three players, including key stats and skills to watch, their importance to team success, and what their roles could be this year. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Monkees community has lost one of our own, David (Dave) Alexander, after his long fight with cancer. He was part of The Monkees/Micky/Davy touring bands for 25 years. He was a fellow fan, and was one of us. Listen to a song with Peter and David , Davy, Sandy Gennero with some audio full of love. Thank you John Billings. We miss you Dave. Love to you. Also in this show, we have an Interview with Rosemary Ward-Tuski, owner of Retrocon, where Micky will be appearing on September 24th and 25th at the Greater Philadelphia Expo Center in Oaks, PA. Learn more and buy tickets at https://retrocons.com Originally aired 9-2-22 Check out Music from thr Monkeesverse on Monkee Mania Radio, 24/7 with Ken Mills, Christine Wolfe and a bunch of DJs that are bringing you music you will love..Listen here https://live365.com/station/Monkee-Mania-Radio-a57014We were born to love one another.Support Zilch, get a cool shirt!www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-artJoin our Facebook pageFind us on Twitter @ZilchcastIf you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. 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 As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

Alex and Facci are joined by Andrew Nembhard to discuss his draft process, going to the Pacers and how that wasn't where he expected to go, playing in the Summer League and learning from those experiences, how difficult it was to lose Washington Jr. in the middle of Summer League and adding in a guy like Nesmith to the mix, what his role will be this upcoming season, playing in the G-League, learning from his college experiences, what position(s) he can play, his goals for the season, what he's been doing this summer to get ready for Training Camp and then he steps on the hot seat and answers 10 rapid fire questions, that leads to a debate/conversation about cereal! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Zilch Staff and Andrew Sandoval look back at Bob Rafelson. The song "Tapioca Tundra," was used in an episode of "Better Call Saul". It was a demo version pretty much lost to time. Its use says something about Bob Rafelson's legacy that words cannot. Bob Rafelson, (February 21, 1933 – July 23, 2022) film director, writer, and producer. He is regarded as one of the key figures in the founding of the New Hollywood movement of the 1970s. He is one of the creators of the pop group and TV series The Monkees with BBS partner Bert Schneider. Originally aired 8/9/22Check out Music from thr Monkeesverse on Monkee Mania Radio , 24/7 Round the Clock with Ken Mills and a bunch of DJs that are bringing you music you will love.Listen here https://live365.com/station/Monkee-Mania-Radio-a57014We were born to love one another.Support Zilch, get a cool shirt!www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-artJoin our Facebook pageFind us on Twitter @ZilchcastIf you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

Alex Golden and Michael "The Wizards FAN" Facci answer YOUR QUESTIONS on today's episode of Setting The Pace! Today's Questions: Keith - Bobby Marks said we could trade Theis & Nesmith right away, but that they could not be aggregated with another player in the transaction.  Do you know how long that restriction lasts?  I'm thinking both of those guys could be on the block.  Thanks! Quinton - What is a realistic extension/contract you see the Pacers signing Myles Turner to? Walter - Who do you think has the best chance to win the Pacers Award (NBA MIP) and why? Haliburton, Duarte, and Smith all seem like they're poised to make a leap. Ben - Big fan! my question would be, when do you guys think this squad can make their first playoff push also who'll be the biggest surprise on our team this year? Wyatt - what are your top 3 moves of the offseason (draft, trades, signing) and what grade would you give the Pacers moves?  Randy - why do you think Rick Carlisle was at Myles Turner's basketball camp? lottydotty - What do you guys think about acquiring Jaxson Hayes? His size, athleticism, improving jumper and age is perfect for our timeline and I 100% believe Carlisle and Tyrese can really get the best out of him. (Bonus Question) Can you guys create some nicknames for our players? festar35 - Do you think Jalen Smith is a long-term PF? What kind of season do you expect from him? pacerssplashzone - Would you start Hield over one of the guys or fully commit to the young core from game 1? brettduley - predictions on what will happen between the pacers and Myles turner? shady_buffalo_podcast - What teams do you anticipate being in contention of the top of the inverse standings? Also, How many PPG do you expect from the trio of Hali/Mathurin/Duarte? Learn more about your ad choices. Visit podcastchoices.com/adchoices

GZilch#178 with Glenn Gretlund & Mark Kleiner from "7a" discuss the new 2 disc set of "Dolenz Jones Boyce & Hart" Finally available and it sounds so much better than what we have heard before.As "The Summer of 7a" continues on!For more Monkee related releases, please visit: www.7arecords.comTons of Micky/Monkees News and a Contest!!!Share this episode to win a free pass to "Retro Con with Micky, details below.News"Head" at a special showing on 8/7Info herehttps://www.facebook.com/events/1160311804552719/Micky at The Hotwheels Con 8/27Micky at Retrocon September 24th & 25th to the Greater Philadelphia Expo CenterThe 10th Anniversary of Retro Con is coming September 24th & 25th to the Greater Philadelphia Expo Center. And in addition to over 235 vendors selling their retro collectables, many special guests, panels, contests, cosplay and more, you can attend a special panel discussion with Micky Dolenz! But wait, there's more! You can also get your picture taken with Micky AND the Monkeemobile! That's right. The iconic Monkeemobile will be on display right next to Micky's table.And one lucky member of Zilch nation can WIN a pair of weekend passes to the event. All you have to do to be entered is go to the Zilch Facebook page and share our post for this episode. Each “share” gets you one entry into the drawing. The winner will be announced on the Zilch Facebook page and be contacted with information as to how to pick up their tickets.Don't forget to look for our own Sarah Clark who will be there handing out Zilch buttons, as well.  Learn more at https://retrocons.com/Originally aired 7/21/22Check out Music from thr Monkeesverse on Monkee Mania Radio , 24/7 Round the Clock with Ken Mills and a bunch of DJs that are bringing you music you will love.Listen here https://live365.com/station/Monkee-Mania-Radio-a57014We were born to love one another.Support Zilch, get a cool shirt!www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-artJoin our Facebook pageFind us on Twitter @ZilchcastIf you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

Aaron Nesmith made his summer league debut for the Indiana Pacers while Bennedict Mathurin shined. Host Tony East breaks down all the storylines from the Pacers third summer league game, including an impressive performance from Isaiah Jackson. He also breaks down how the Pacers can get to max cap space if they need to. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Celtics acquired Malcolm Brogdon for a first round pick and five players outside of their rotation, including Daniel Theis and Aaron Nesmith. Bobby Manning welcomes Pacers writer Caitlin Cooper of Indy Cornrows to discuss what Brogdon brings to Boston, why Indiana traded him for so little and where Nesmith could fit in on the Pacers roster. They also talked about the cap space the move opened that could allow the Pacers to sign Deandre Ayton, TJ Warren leaving Indy for the Nets, the future of Myles Turner and the latest on Kevin Durant's trade request. 

The Indiana Pacers saw two of their former players, TJ Warren and Edmond Sumner, leave for the Brooklyn Nets yesterday. Host Tony East breaks down the moves, including what they signal about the Pacers team building plans. Then, Locked On Celtics host John Karalis joins the show to further discuss the Malcolm Brogdon trade, Aaron Nesmith, and Daniel Theis. Support Us By Supporting Our Sponsors! TrueBill Don't fall for subscription scams. Start cancelling today at Truebill.com/LOCKEDONNBA. Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Arcade1up Pre-order now from arcade1up.com - that's Arcade, the number 1, Up, dot com - for an estimated early September ship date! They are giving away a NBA JAM Shaq edition to a Locked On listener! Enter for a chance to win a game console for your man-cave at arcade1up.com/lockedon. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of the A List Podcast, A. Sherrod Blakely, Gary Washburn & Kwani A. Lunis recap the Boston Celtics' NBA Finals loss to the Golden State Warriors.    The A List Podcast is Powered by BetOnline.ag, Use Promo Code: CLNS50 for a 50% Welcome Bonus On Your First Deposit!   The A List Podcast is Powered by Indeed! Start hiring RIGHT NOW with a 75$ SPONSORED JOB CREDIT to upgrade your job post at https://Indeed.com/ALIST !   A List Podcast w/ A. Sherrod Blakely & Kwani A. Lunis: Ep. 81   The A List Podcast with Sherrod and Kwani, is available on iTunes, Spotify, YouTube as well as all of your podcasting apps. Subscribe, and give us the gift that never gets old or moldy- a 5-Star review - before you leave!   TIMESTAMPS: 0:00 NBA Finals Recap 4:46 Marcus Smart as a playmaker 8:13 4th Quarter offense struggles + Tatum playmaking 10:08 Smart's improvement this season 16:04 Celtics need bench help, Need more from Nesmith 19:48 Jayson Tatum's improvements & struggles 22:00 Building the bench 27:15 The rise of Robert Williams 33:45 Future of Al Horford 37:00 Jaylen Brown needs to work on handle 42:54 Grading Ime Udoka's first season 47:50 Draft/Offseason preview

Glenn Gretlund of 7a Records joins us to talk about "The Summer of 7a". "And The Hits Just Keep On Comin' (50th Anniversary Ed.) & "Tantamount To Treason, Vol. 1 (50th Anniversary Ed), are both out now - expanded with bonus tracks. Glenn also talks Micky's "Demoiselle" and other projects, and lets slip about the "Dolenz, Jones, Boyce & Hart" set coming. We are joined later in the show by Wilson McLean, who painted both the original album sleeve for "Tantamount To Treason" and the brand new cover painting as well. Aired 6/2/22For more Monkee related releases, please visit: www.7arecords.comCheck out Music from thr Monkeesverse on Monkee Mania Radio , 24/7 Rounnd the Clock with Ken Mills and a bunch of DJs that are bringing you music you will love.Listen here https://live365.com/station/Monkee-Mania-Radio-a57014We were born to love one another.Support Zilch, get a cool shirt!www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-artJoin our Facebook pageFind us on Twitter @ZilchcastIf you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

Andy Schaal and Aubrey Winter join your host, Christine Wolfe, to recap the final tour stop of Micky Dolenz Remembers the Monkees in Madison, WI. Listen and enjoy some of Aubrey's bootleg from that night, featuring the Micky's red hot band - Wayne Avers, Emeen Zarookian, Gemma Dolenz, Rich Dart, Alex Jules, John Billings & Pete Finney. Check out Music from thr Monkeesverse on Monkee Mania Radio , 24/7 Rounnd the Clock with Ken Mills and a bunch of DJs that are bringing you music you will love.Listen here https://live365.com/station/Monkee-Mania-Radio-a57014For more Monkee related releases, please visit: www.7arecords.comAired 5/13/22We were born to love one another.Support Zilch, get a cool shirt!www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-artJoin our Facebook pageFind us on Twitter @ZilchcastIf you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

David Nesmith joins us and has all the stories you hope for from a 37-year college football official. Hear about Doug Flutie, Steve Spurrier, Skip Holtz, and Phillip Rivers. Not to mention a game ending brawl, a game that had 133 total points scored, and A Canadian Football League 1-point rouge. Click on Link tree to find the link to our email brewandshavers@gmail.com. Emal your questions for college football referee, David Nesmith. Link tree - https://linktr.ee/brewandshavers

Preaching for the Fourth Sunday of Easter, Sr. Jane Nesmith, SBS, offers a reflection on listening for the voice of the Good Shepherd in our world and lives today: "Our very lives depend on our choosing the option of following the Good Shepherd, and to declare with our lips and our lives that he is indeed the Way, the Truth and the Life. This one and only Good Shepherd calls out to us in our heartbreak and our loneliness. He calls out to us in our frustration and our guilt. This Good Shepherd brings His love to our lovelessness. This Good Shepherd brings His power to our powerlessness. This Good Shepherd stands by His promise, 'I give you life eternal and nothing in all creation will ever be able to snatch you out of my hand.'" Sister Jane Nesmith is a native of Philadelphia, PA, and a 58-year member of the Congregation of the Sisters of the Blessed Sacrament. She holds a Master's Degree in Education with a concentration in Religious Studies and a Certification in Youth Ministry from Cardinal Stritch University in Milwaukee, WI. Sister's previous mission sites included: Rayne, Lake Charles, and New Orleans, LA; Seattle, WA; Evansville, IN; and Jamaica, West Indies. She taught youth of all grade levels, coordinated youth programs, served as a Director of Campus Ministry, Pastoral Associate, Pastoral Life Coordinator, and co-founded a pilot youth ministry program at Xavier University. She has also served as a founding and board member of the National Black Sisters' Conference. Visit www.catholicwomenpreach.org/preaching/05082022 to learn more about Sister Jane, to read her preaching text, and for more preaching from Catholic women.

Christofer and entrepreneur Aaron Nesmith-Beck speak about practical tips for having a useful psychedelic experience in this episode of Do Explain. They discuss if using drugs is cheating, dealing with bad/challenging trips, ceremonial containers for a trip, nested arcs, fractal insights, tripping in a group, psilocybin retreats in Holland, DMT, QRI and neural annealing, meeting extra dimensional beings, and other related topics.Aaron Nesmith-Beck is a writer and entrepreneur most interested in psychedelics as a way to effectively do good. He founded Atman, one of the first legal psilocybin retreats. Atman Retreat allows people to explore the transformative potential of psychedelics safely, legally, and in a setting designed to maximize their benefits. Before that, he travelled for several years while blogging at Freedom & Fulfilment, which has now reached almost a million people worldwide. He's currently based in Toronto, Canada and was previously a board member of Mapping the Mind, one of Canada's largest psychedelic science conferences, and a volunteer organizer for Effective Altruism Toronto. Other interests of his include meditation, applied ethics, personality and transpersonal psychology, and nonduality.Website: https://anesmithbeck.com/Atman Retreat: https://atmanretreat.com/Twitter: https://twitter.com/anesmithbeckSupport the podcast at:https://www.patreon.com/doexplain (monthly)https://ko-fi.com/doexplain (one-time)Find Christofer on Twitter:https://twitter.com/ReachChristofer

Michael Nesmith, songwriter, actor, producer, novelist and member of the popular group The Monkees passed away in December 2021. His will stated he wished to donate his entire estate to his mother's foundation—however, there was one complication to the legality of the document. Nesmith's will was hand written. In this episode, David Lenok is joined … Continue reading 66. Michael Nesmith, The Monkees and The Legality Of Holographic Wills →

WOW what a game from the Cetics. The Celtics beat the Wizards 144-102 and this is a game that truly accentuates how great our offense is capable of being even despite Timelord being out. JB led the way with his 9th straight game over 25pts. He ended with 32pts, 7reb, and 5ast on just 17 shots and had everything going today. This was another incredibly impressive game as far as ball movement goes. We saw both Tatum and Smart with 7 assists, Al with 6 and JB with 5. Both of the Jays have stepped up their game in a major way as far as facilitating goes and it makes this team soo hard to beat. Defensively, we did a much better job of switching tonight and didn't drop into coverage nearly as much although it still happened at times. The real story of the night in my eyes though is the bench. Pritchard, White and Grant were the 3 primary bench players outside of garbage time and all 3 of them played at an exceptionally high level. Grant contributed 16pts on 4-5 from 3 so he broke out of his slump which is great. White contributed 17pts 5reb and 3ast on 3-3 from 3. Derrick White shot just 27% from 3 in his first 27 games as a Celtic but is shooting 43% from 3 in his last 5. Obviously it is a small sample size but it is great to see the shot falling. Pritchard also contributed 14pts on 4-7 from deep. All in all, the bench scored 67 points and was super active in this one. Nesmith, although he only played 8 garbage time minutes, did score 11pts on 3-4 from deep and was very impressive. You love to see these types of contributions from the bench! --- Support this podcast: https://anchor.fm/guy-deplacido/support