1966 studio album by the Beach Boys
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In this episode of My Rock Moment, we're diving deep into one of rock and roll's most legendary what-could-have-beens… and what-finally-was. Back in 1966, fresh off the groundbreaking success of Pet Sounds, Brian Wilson set out to create his magnum opus: Smile. With poet and lyricist Van Dyke Parks at his side, the project promised to be a revolutionary leap forward—a kaleidoscopic, avant-garde album that would redefine what pop music could be. But as recording progressed, the pressure from within the band, the label, and Brian's own mental health struggles led to the album's unraveling. The sessions were shelved, and Smile became one of music history's greatest mysteries—a “lost” album that haunted fans, scholars, and Brian himself for decades. That is, until the early 2000s, when Smile finally got its moment in the sun. Reimagined and completed by Brian Wilson and Van Dyke Parks nearly 40 years later, the album was not only resurrected—it was performed live, recorded, and finally released, closing the loop on one of rock's most mythical stories. Joining us to unpack it all is David Leaf—acclaimed writer, director, producer, and longtime friend of Brian Wilson. David has chronicled Brian's life and legacy for decades, and in his new book, SMiLE: The Rise, Fall and Resurrection of Brian Wilson, he brings fresh insight into Smile's rise, fall, and miraculous comeback. A little about David: https://www.leafprod.com Get your copy of SMiLE: The Rise, Fall and Resurrection of Brian Wilson Songs in this episode: Good Vibrations - The Beach Boys Roll Plymouth Rock - The Beach Boys Surf's Up - The Beach Boys Cabin Essence - The Beach Boys Heroes and Villains - Brian Wilson Learn more about your ad choices. Visit megaphone.fm/adchoices
Rock Talk Studio: Reviewing Rock 'n' Roll Books and Documentaries
SMiLE was an album that never came out. Not in the '60s when it was made. Not after Pet Sounds. Brian Wilson made an album-when he was 24- that was so visionary it nearly broke him. And this tremendous book gives you everything you ever wanted to know about how SMiLE became myth, then obsession, then burden, and then finally against all odds- triumph! *Want to win a free copy of Queen & A Night At The Opera: 50 Years? It's easy, just send me an email to sign up. You can find a link to my email address below. *Reminder this is for US citizens only**Want the latest in Rock N Roll Book and Documentaries news sent to your inbox? Sign up for the Monthly BLAST!! the newsletter that comes out on the last Friday of the month that features book buzz and doc news, recently released titles, top 5 lists, and more. Just shoot me over an email at the address below and say Big Rick, send me over that Blast!!Support the showemail Big Rick at:info@rocktalkstudio.com
Pet Sounds är ett resultat av Brain Wilsons inre geni. Ett projekt, pådrivet av The Beatles och färdigställt med en sån precision att NASA-forskare hade tagit anteckningar. Detta är en del av vår större serie om The Beach Boys historia i tre delar. Tycker ni att berättelsen om Pet Sounds var intressant, lyssna gärna på resten av serien!Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor: Se ursprungsavsnitten. Hosted on Acast. See acast.com/privacy for more information.
The Beach Boys lät som solen själv.. men bakom harmonierna låg splittring, sorg och en hel del studioångest. Vi följer vågorna från hawaiianska prinsar och surfens kungliga rötter, genom Kaliforniens tonårsdrömmar, till basebollens barndom och Vietnamkrigets strandpauser. På vägen möter vi Brian Wilsons inre värld, Duvall med surfbräda i helikopter – och den märkliga kraften i att sjunga trestämmigt om att bara... chilla lite.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:Böcker:White, Timothy. The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern California Experience (1994, Henry Holt and Co.)↳ Den här boken har varit fundamental för förståelsen av både Brian Wilsons kreativa drivkrafter och Kaliforniens kulturella bakgrund. En ovärderlig källa genom hela arbetet med podden.Granata, Charles L. Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds (2003, Chicago Review Press)↳ En djupdykning i skapandet av Pet Sounds – med både tekniska detaljer och emotionellt innehåll.Holcomb, Mark. The Beach Boys (2003, Lucent Books)↳ En mer översiktlig biografi, men bra för kontext och struktur.Surfkultur & SamtidshistoriaFör att sätta in The Beach Boys i ett större sammanhang använde vi dessa böcker om surfkultur, ungdomshistoria och Kaliforniens glansdagar (Timothy White har också en bit om det i sin bok):Clark, J. R. K. – Hawaiian Surfing: Traditions from the Past (2011)Crowley, K. – Surf Beat: Rock 'n' Roll's Forgotten Revolution (2011)Gabbard, A. – Girl in the Curl: A Century of Women in Surfing (2000)Halberstam, D. – The Fifties (1993)Hine, T. – The Rise and Fall of the American Teenager (1999)Lawler, K. – The American Surfer: Radical Culture and Capitalism (2011)Palladino, G. – Teenagers: An American History (1996)Starr, K. – Golden Dreams: California in an Age of Abundance, 1950–1963 (2009)Young, N. – Surfing: A History of the Ancient Hawaiian Sport (1998) Film & VideoBrian Wilson: Long Promised Road (2021, regisserad av Brent Wilson)↳ En närgången dokumentär med Wilson själv – ömsint, fragmentarisk och full av musikaliska insikter.CBC Music (2011). George Tonight: Brian Wilson on His Father, Beautiful Music and How He Finds Creativity. [YouTube-intervju]↳ En varm och lågmäld intervju som säger mycket om Wilsons inre liv. Finns på YouTube. ÖvrigtWikipedia – Ja, det får vara med här också.↳ Som Majas källor – en massa Wikipedia... Och ibland är det faktiskt en bra startpunkt. Vi dömer inte. Hosted on Acast. See acast.com/privacy for more information.
For our big Season 2 Finale, Discograffiti's opted to fudge the timeline just a bit in order to give the proper red-carpet drum-roll gravitas to Season 3, especially since much of the music on The Beach Boys' “Stack-O-Tracks” was created during this period, by the musicians who'd go on to create 99% of the music created during Season 3. In this very special episode, the inimitable Don Randi and Wrecking Crew guitarist Tommy Tedesco's son Denny Tedesco—director of the excellent music docs The Wrecking Crew and The Immediate Family—come together for an overview of the black sheep of The Beach Boys' 1960s catalog, plus a history of the musicians who made most of the music on it…not to mention most of Pet Sounds & Smile. Here's just a few of the many things that Don and Denny discuss with Discograffiti in this podcast:A sneak peek preview of Denny's upcoming third music doc;The very different original track listing for “Stack-O-Tracks”;The origin story and early days of The Wrecking Crew;The many reasons for the disbursement of that classic group of great players;The resentments of the band members who wound up being replaced on their records by the 1960s session guys;If Don really knew that Brian was a genius at the time, without the benefit of hindsight;Plus, some background on the ill-fated 1992 Phil Spector session with The Wrecking Crew that never quite came off.Listen: linktr.ee/discograffitiI support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a Beach Boys superfan like me, you'll want The Director's Cut of this episode. It's ad-free and features 23 additional minutes of essential material. Purchase it as a one-off, get the entire Season 1 & 2 Series as a bundle (listed under Collections), or better yet…Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher: Patreon.com/DiscograffitiCONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: https://podfollow.com/1592182331YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram: https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about. If you're already a member, please comment below about your experience. www.Patreon.com/discograffiti#donrandi #dennytedesco #thewreckingcrew #theimmediatefamily #immediatefamily #stackotracks #davidmarks #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #vinyl #aljardine #thebeatles #brucejohnston #petsounds #goodvibrations #surf #rocknroll #surfing #california #beach #surfrock #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue
This Beach Boys 45 is the band's final musical communique prior to Pet Sounds' release, and although it's indisputably up there with the greatest music they've ever created, it died a relative death at the hands of FM radio DJs at the time due to the extremely unconventional and bold series of silences featured in the song. DJs were left scratching their heads, horrified by the prospect of dead air, and so instead resorted to playing “Barbara Ann” off the recently released “Party!” LP, which wound up becoming a far bigger hit. So who better to explain the curious fate of “The Little Girl I Once Knew” than legendary FM radio DJ and Sirius XM mainstay Pat St. John, whose perspective on the undeserved fate of this classic single is a sorely needed one.There'll be a short sneak peak running publicly for free, but the entirety of this podcast will only be accessible on the Major Tier of Discograffiti's Patreon. Don't miss it, or you'll only be getting part of the story. Get it as a one-off, purchase the entire Beach Boys Season 1, or better yet just subscribe.Full Episode: Patreon.com/Discograffiti (available on the Major Tier & up)Free Sneak Peek: linktr.ee/discograffitiSubscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher.I support a wife and a six-year-old son with Discograffiti as my sole source of income.It's completely free to be a basic member, $1 to get your backstage pass, $5/month for the weekly Sunday show by & for our community, $10 for weekly early release, ad-free, super-extended Director's Cuts of the main show plus half our Patreon episode archive, & $20 for Discograffiti's weekly bonus episodes and our entire Patreon episode archive. There are now over 300 Patreon episodes.CONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: https://podfollow.com/1592182331YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram: https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about. If you're already a member, please comment below about your experience. www.Patreon.com/discograffiti#patstjohn #davidmarks #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #dj #aljardine #thebeatles #brucejohnston #rock #petsounds #sonicboom #goodvibrations #siriusfm #surf #rocknroll #thelittlegirlionceknew #fmradiodj #surfing #california #beach #surfrock #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue
The Beach Boys lät som solen själv.. men bakom harmonierna låg splittring, sorg och en hel del studioångest. Vi följer vågorna från hawaiianska prinsar och surfens kungliga rötter, genom Kaliforniens tonårsdrömmar, till basebollens barndom och Vietnamkrigets strandpauser. På vägen möter vi Brian Wilsons inre värld, Duvall med surfbräda i helikopter – och den märkliga kraften i att sjunga trestämmigt om att bara... chilla lite.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:Böcker:White, Timothy. The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern California Experience (1994, Henry Holt and Co.)↳ Den här boken har varit fundamental för förståelsen av både Brian Wilsons kreativa drivkrafter och Kaliforniens kulturella bakgrund. En ovärderlig källa genom hela arbetet med podden.Granata, Charles L. Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds (2003, Chicago Review Press)↳ En djupdykning i skapandet av Pet Sounds – med både tekniska detaljer och emotionellt innehåll.Holcomb, Mark. The Beach Boys (2003, Lucent Books)↳ En mer översiktlig biografi, men bra för kontext och struktur.Surfkultur & SamtidshistoriaFör att sätta in The Beach Boys i ett större sammanhang använde vi dessa böcker om surfkultur, ungdomshistoria och Kaliforniens glansdagar (Timothy White har också en bit om det i sin bok):Clark, J. R. K. – Hawaiian Surfing: Traditions from the Past (2011)Crowley, K. – Surf Beat: Rock 'n' Roll's Forgotten Revolution (2011)Gabbard, A. – Girl in the Curl: A Century of Women in Surfing (2000)Halberstam, D. – The Fifties (1993)Hine, T. – The Rise and Fall of the American Teenager (1999)Lawler, K. – The American Surfer: Radical Culture and Capitalism (2011)Palladino, G. – Teenagers: An American History (1996)Starr, K. – Golden Dreams: California in an Age of Abundance, 1950–1963 (2009)Young, N. – Surfing: A History of the Ancient Hawaiian Sport (1998) Film & VideoBrian Wilson: Long Promised Road (2021, regisserad av Brent Wilson)↳ En närgången dokumentär med Wilson själv – ömsint, fragmentarisk och full av musikaliska insikter.CBC Music (2011). George Tonight: Brian Wilson on His Father, Beautiful Music and How He Finds Creativity. [YouTube-intervju]↳ En varm och lågmäld intervju som säger mycket om Wilsons inre liv. Finns på YouTube. ÖvrigtWikipedia – Ja, det får vara med här också.↳ Som Majas källor – en massa Wikipedia... Och ibland är det faktiskt en bra startpunkt. Vi dömer inte. Hosted on Acast. See acast.com/privacy for more information.
The Best Show's Tom Scharpling has been a Beach Boys obsessive for over 40 years, and the idea behind bringing him on for Party!, The Beach Boys' oft-dismissed 10th LP that also served as a stopgap measure allowing Brian Wilson to buy time to shape Pet Sounds, was to feature a guest who took this record seriously. In addition, the various unreleased experiments in which Brian was engaging during this era are some of the most fascinating studio visits Brian would ever make in his life, and each and every one is covered in forensic detail (especially in The Director's Cut edit). Greatness was not just around the corner…it was already here.Here's just a few of the many things that Tom discusses with Discograffiti in this podcast:How Tom initially became deeply, deeply obsessed with The Beach Boys in the early 1980s, and the burnout he eventually incurred via oversaturation;The time in the late 1980s that a young Tom contacted a radio call-in show that featured Brian, only to harangue him about when Smile was coming out;A fascinating series of unreleased studio experiments that paved the way for both Pet Sounds & Smile;A discussion about whether or not The Beach Boys are an inherently funny band…or not at all in the least;A debate over whether covering their own material on Party was proto-Weird Al or just a complete misfire;And a track-by-track rundown of the Party! LP.Listen: linktr.ee/discograffitiI support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a Beach Boys superfan like me, you'll want The Director's Cut of this episode. It's ad-free and features 13 additional minutes of essential material. Purchase it as a one-off, get the entire Season 2 Series as a bundle (listed under Collections), or better yet…Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher: Patreon.com/DiscograffitiCONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: https://podfollow.com/1592182331YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram: https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about. If you're already a member, please comment below about your experience. www.Patreon.com/discograffiti#tomscharpling #thebestshow #thebestshowwithtomscharpling #thebeachboysparty #barbaraann #davidmarks #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #vinyl #aljardine #thebeatles #brucejohnston #rock #petsounds #goodvibrations #surf #rocknroll #surfing #california #beach #surfrock #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue
The Beach Boys lät som solen själv.. men bakom harmonierna låg splittring, sorg och en hel del studioångest. Vi följer vågorna från hawaiianska prinsar och surfens kungliga rötter, genom Kaliforniens tonårsdrömmar, till basebollens barndom och Vietnamkrigets strandpauser. På vägen möter vi Brian Wilsons inre värld, Duvall med surfbräda i helikopter – och den märkliga kraften i att sjunga trestämmigt om att bara... chilla lite.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:Böcker:White, Timothy. The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern California Experience (1994, Henry Holt and Co.)↳ Den här boken har varit fundamental för förståelsen av både Brian Wilsons kreativa drivkrafter och Kaliforniens kulturella bakgrund. En ovärderlig källa genom hela arbetet med podden.Granata, Charles L. Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds (2003, Chicago Review Press)↳ En djupdykning i skapandet av Pet Sounds – med både tekniska detaljer och emotionellt innehåll.Holcomb, Mark. The Beach Boys (2003, Lucent Books)↳ En mer översiktlig biografi, men bra för kontext och struktur.Surfkultur & SamtidshistoriaFör att sätta in The Beach Boys i ett större sammanhang använde vi dessa böcker om surfkultur, ungdomshistoria och Kaliforniens glansdagar (Timothy White har också en bit om det i sin bok):Clark, J. R. K. – Hawaiian Surfing: Traditions from the Past (2011)Crowley, K. – Surf Beat: Rock 'n' Roll's Forgotten Revolution (2011)Gabbard, A. – Girl in the Curl: A Century of Women in Surfing (2000)Halberstam, D. – The Fifties (1993)Hine, T. – The Rise and Fall of the American Teenager (1999)Lawler, K. – The American Surfer: Radical Culture and Capitalism (2011)Palladino, G. – Teenagers: An American History (1996)Starr, K. – Golden Dreams: California in an Age of Abundance, 1950–1963 (2009)Young, N. – Surfing: A History of the Ancient Hawaiian Sport (1998) Film & VideoBrian Wilson: Long Promised Road (2021, regisserad av Brent Wilson)↳ En närgången dokumentär med Wilson själv – ömsint, fragmentarisk och full av musikaliska insikter.CBC Music (2011). George Tonight: Brian Wilson on His Father, Beautiful Music and How He Finds Creativity. [YouTube-intervju]↳ En varm och lågmäld intervju som säger mycket om Wilsons inre liv. Finns på YouTube. ÖvrigtWikipedia – Ja, det får vara med här också.↳ Som Majas källor – en massa Wikipedia... Och ibland är det faktiskt en bra startpunkt. Vi dömer inte. Hosted on Acast. See acast.com/privacy for more information.
In this episode of The Rewatch Party, Nick, Anthony, and Dan dive into Love & Mercy, the 2014 biopic about Beach Boys legend Brian Wilson. Unlike traditional musician biopics, this film takes a unique approach, following Wilson during two pivotal periods of his life—played by Paul Dano in the 1960s and John Cusack in the 1980s. The hosts discuss how this split timeline storytelling affects the film's emotional impact and whether it enhances or distracts from the narrative. Anthony, a fan of music history, praises the film's deep dive into Wilson's genius and struggles, while Nick and Dan debate whether the dual performances truly capture the essence of the troubled artist. The conversation naturally shifts to the film's depiction of the creative process behind Pet Sounds, one of the most influential albums of all time. The hosts analyze how Love & Mercy showcases Wilson's innovative techniques and obsessive perfectionism in the studio, bringing to life the making of iconic songs. Nick argues that these scenes are the heart of the film, immersing viewers in Wilson's artistic brilliance, while Dan points out how the tension with bandmates and his domineering father adds layers to the story. Anthony highlights the film's ability to make the audience feel both the joy of creation and the weight of Wilson's mental health struggles. Of course, the discussion wouldn't be complete without addressing Paul Giamatti's chilling performance as Dr. Eugene Landy, the manipulative therapist who controlled Wilson's life in the 1980s. The hosts dissect the disturbing power dynamics between Landy and Wilson, with Elise noting that John Cusack's subdued performance contrasts well against Giamatti's overwhelming presence. They also explore Elizabeth Banks' role as Melinda Ledbetter, Wilson's eventual savior, and whether her character's arc is given enough depth. By the end of the episode, the trio reflects on Love & Mercy's rewatchability. While its emotional weight and unconventional structure might not make it an easy, casual rewatch, its powerful performances, immersive storytelling, and reverence for Brian Wilson's artistry make it a compelling experience. Whether you're a die-hard Beach Boys fan or just appreciate a well-crafted biopic, this discussion will leave you with a greater appreciation for the man behind the music. https://www.imdb.com/title/tt0903657/
Welcome to Season 2 of “The Beach Boys: And Your Dreams Come True!” Sub-titled “Icarus Ascending,” this season focuses solely on the year 1965 because, well…a whole heck of a lot can happen in that short a timespan if you're Brian Wilson edging ever closer to your peak. The Beach Boys' 8th LP, Today!, is tackled by none other than author/filmmaker David Leaf, who's long held the belief, despite the reams he's written on “Pet Sounds”—not to mention his forthcoming “Smile” oral history—that “Today!” is his favorite of their records. Tune in and find out why.Here's just a few of the many things that David discusses with Discograffiti in this podcast:How David's Brian Wilson fascination began; Revealing details about his brand-new book about “Smile,” and how he came to write it;The chaotic steps leading to Today's creation and release;Whether Brian's nervous breakdown was real or him resorting to extreme behavior to get his way;And the role that marijuana played during the “Today!” era in Brian's compositional style and arrangements.Listen: linktr.ee/discograffitiI support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a Beach Boys superfan like me, you'll want The Director's Cut of this episode. It's ad-free and features 10 additional minutes of essential material. Purchase it as a one-off, get the entire Season 1 Series as a bundle (listed under Collections), or better yet…Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher: Patreon.com/DiscograffitiTo Pre-Order David Leaf's “SMiLE: The Rise, Fall, and Resurrection of Brian Wilson” Book (4/15/25 release):Amazon US: https://amzn.to/4fI5kmgAmazon UK: https://amzn.to/49czwn1CONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: https://podfollow.com/1592182331YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram: https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about. If you're already a member, please comment below about your experience. www.Patreon.com/discograffiti#davidleaf #davidmarks #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #vinyl #aljardine #thebeatles #brucejohnston #rock #petsounds #beachboystoday #goodvibrations #allsummerlong #surf #rocknroll #smile #beautifuldreamer #surfing #california #beach #surfrock #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue
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The Alan Cox Show
Welcome to Discograffiti's exploration of The Beach Boys' seventh studio album, this one packed with holiday cheer and orchestral sparkle. In this episode, special guest David Beard and I talk about Brian's album-length excuse to work with one of his heroes, Four Freshman arranger Dick Reynolds, whose expertise with the 41-piece orchestra that plays on half this LP foreshadows Brian's just around the corner on Pet Sounds. We also discuss whether this was a dry run for an A-Side/B-Side tonal discrepancy that wound up coming heavily into play on 1965's Today! LP, as well as what exactly happened with the group's botched late-1970s Christmas album sequel.There'll be a short sneak peak running publicly for free, but the entirety of this podcast will only be accessible on the Major Tier of Discograffiti's Patreon. Don't miss the full episode, or you'll only be getting part of the story. Get it as a one-off, purchase the entire Beach Boys Season 1, or better yet just subscribe.Sneak Peek: linktr.ee/discograffitiFull Episode: Patreon.com/DiscograffitiI support a wife and a six-year-old son with Discograffiti as my sole source of income.Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher after having been a member for 3 months.It's completely free to be a basic member, $1 to get your backstage pass, $5/month for the Sunday show by & for our community, $10 for early release, ad-free, super-extended Director's Cuts of the main show plus half our Patreon episode archive, & $20 for Discograffiti's bonus episodes and our entire Patreon episode archive. There are now over 300 Patreon episodes.Note: It's mentioned in this episode that Brian didn't work with arranger Dick Reynolds again until his unreleased 1977 LP Adult/Child, but in fact they did collaborate again for a single orchestral session which went unreleased, held ostensibly to boost Brian's confidence prior to getting started on Pet Sounds. More details to come in Season 2.#thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #dickreynolds #littlesaintnick #aljardine #thebeatles #brucejohnston #rock #surfergirl #vinylcollection #goodvibrations #christmasalbum #rogerchristian #rocknroll #davidmarks #records #surfing #allsummerlong #beach #surfrock #offthebeatenpath #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue
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Cris Edwards is a person who experiences a disability known as Misophonia. What is it? Cris is best at explaining. However, in part, this condition causes people who have it to react to sounds and other stimuli most of us take for granted and can ignore. As with many of our guests, I met Cris through our own Sheldon Lewis. By the way, because of Sheldon, Cris and his nonprofit use accessiBe. However, I get ahead of myself. Cris went through school and, in fact life with manifestations of Misophonia. As he tells us, he also has ADHD. Many people with misophonia do exhibit other conditions as well. As Cris explains, until fairly recently this condition was not even recognized nor taken seriously. Cris tells us how he lived his life with this condition and how today he is dealing with it somewhat better than before. In 2021 Cris founded soQuiet, a 501C3 corporation to help those with Misophonia. We will get to learn how even AI today is helping people deal with this issue. Cris and I talk a lot about not only Misophonia, but how people can better exercise their minds to learn how better to conduct introspection and exercise their brains to better take care of their whole world. I hope you like what Cris has to say. Lots to think about here. About the Guest: Cris Edwards, MFA CPS, is the founder of soQuiet, a 501[c]3 tax-exempt nonprofit organization dedicated to providing free and accessible advocacy, resources, and support for all people whose lives are affected by misophonia, a multi-sensory sensitivity disorder. Cris has struggled with what we now know as misophonia for over 40 years, since way back in the early 1980s, decades before there was any recognition, or even a name, for this condition. Years later, when connecting the dots in his life looking backwards, Cris can see just how much misophonia had an impact on his life, from affecting his schooling to causing barriers to employment and more. Cris was able to complete college and grad school, earning a Master of Fine Arts in Directing. But, he always also wanted to help people to live better lives with a disorder like misophonia. During the COVID pandemic, since there was no live theatre happening for an unknown amount of time, Cris decided to start a nonprofit which focused on misophonia and that worked to be accessible to all and to approach advocacy from the viewpoint of someone with lived experience of struggling with misophonia. soQuiet was born and has grown quickly in the four-ish years of its existence. soQuiet has provided many "firsts" to the misophonia community, sometimes called the misosphere. Cris and the soQuiet team launched the first misophonia student research grant program, the first comprehensive peer support program for misophonia, and has mailed thousands of free misophonia information cards to six continents at no charge, among many other successes. Cris is also active in the recovery community having gotten sober in 2017. He is a Certified Peer Specialist [CPS] as well as an occasional theatre director and designer. Cris lives with his wife, Michelle, and two cats in St. Louis, Missouri. Ways to connect with Cris: Website: soQuiet.org On all major social sites [Facebook, Instagram, TikTok, etc.] under the username: soquietorg About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson ** 01:35 We appreciate it. Today we are going to have the opportunity to chat with Cris Edwards and Cris, among other things, has formed a nonprofit called so quiet. And I think there's a fascinating story behind that. And basically he deals with a lot of people who happen to have something called misophonia, which I'm not overly familiar with, and I'll bet most of you aren't, but Cris, clearly, because he found it so quiet, is an expert. And so there you are, Cris. Now you're stuck with it. Well, I want to know now. There you go, Cris. Cris is in St Louis, Missouri. We're out here in California, so we're little ways apart. But isn't science a wonderful thing? But Chris, I want to welcome you to unstoppable mindset. I really appreciate you being here, and we're looking forward to having a great chat. Thank you so much, Michael, it's a pleasure to be here. I met Cris through Sheldon Lewis at accessibe. Now you all have heard of Sheldon before. He's nonprofit partner manager at accessibe, and worked with a lot of organizations like Cris' and he said, Cris, you ought to go on this here podcast. And Chris, I guess, decided that we were probably worth going on. So here we are. Well, why don't we start Chris, why don't you tell us a little bit about kind of the early Chris growing up and some of that stuff. Cris Edwards ** 02:59 Absolutely. Thank you. Well, I just turned 50 last week, so I don't feel like I'm 50, but yeah, I was born in 1974 I grew up in San Antonio, Texas, and, you know, I A lot of times we can connect the dots looking backwards, but at the time, in the 70s and the 80s, there really wasn't as much awareness and cognizance and attention paid to things like neurodiversity and invisible disabilities and different disorders and things. There was a whole different social viewpoint to that. But yeah, growing up, I always had noticed a few things I felt a little different from other people, but I did well. As far as the classes, I was capable of doing everything quite well, but was always distracted, and oftentimes found myself responding to things in a way that was different than the way other people responded to the sensory input around them. So we'll get more into how I realized that that is a thing later, but managed to go through school. Michael Hingson ** 04:10 What's that? Is that sort of like ADHD? Well, that's a good point. Cris Edwards ** 04:14 I actually do have ADHD, but that is that is a separate disorder from misophonia. Yeah. What's interesting? Thank you for asking that misophonia often co occurs with other conditions like that, other mental health conditions like ADHD, OCD. There's not one of those that sticks out. Misophonia is considered a separate unique condition disorder. It can occur on its own, but we know through research that it's it commonly co occurs with other things. So as I got older, Michael Hingson ** 04:43 what's that I say? Anyway, go ahead. Anyway. Yeah. So Cris Edwards ** 04:48 I actually, you know, I got through school, actually ended up going to college and went to grad school. I studied theater and got a master's of fine arts and directing. But where'd you go? Well, for undergraduate school, I. Went to a little University called Tarleton State University. It's about an hour west of Fort Worth Texas. It's actually an agricultural college that happened to have a theater department that was pretty good. And then I went to Texas Tech out in the desert of Lubbock for grad school. But I had always, you know, early on, I can remember as far back as fourth grade, or maybe even earlier than that. Nobody has any record of this. We're just going off of my my flawed memory. I remember that the sensory input I got around me, I felt like I responded to differently than other people. For example, if I was in a class, I can remember trying to listen to a teacher teach, or trying to take a test, and if there were particular things going on in the classroom, I could not focus on the lesson, and I could not focus on the test or whatever, because I was so distracted, like by particular motions or particular sounds. And I learned later on, much later in my adult life that they had created a term for this. It wasn't just that I was particular about sounds, that it's an actual disorder called misophonia. And so when I found out the word probably around 2007 I found out that this particular term was created in 2001 so nobody had any concept of of this existence while I was in school. But in general, misophonia is a largely auditory but in fact, multi sensory aversion disorder. If you ever hear of somebody who says something like, I can't if you don't stop smacking your chewing gum, I'm gonna have to leave like it makes me anxious and frustrated more than is normal. Nobody likes the sound of smacking gum, but if it gets to a point where you literally cannot be around that sound, and it gives you this very accentuated irritation, frustration, like a need to just get away from that sound in a way that isn't normal. That's that's kind of a hallmark of misophonia. Misophonia can also have a visual element. So seeing somebody doing something, like, if I see somebody chewing gum, but I can't hear them, that actually brings about that same reaction. And it's not a volunteer, it's not a voluntary reaction. There's also a similar kind of sibling disorder called miso Kinesia, and it is when people have a similar response, again, an involuntary physiological response to visual motions. So if I was in class looking back and somebody was shaking their feet or twirling their hair, which are very normal things for people to do when they're anxious. Taking a test, I couldn't concentrate that motion, just my brain focuses on that motion immediately, and I can't, I literally cannot focus on anything else, and it makes me very upset. So that's that's kind of a misophonia in a nutshell. You know, I if I was in a class and somebody had a bag of chips, the crinkling plastic and the sound of somebody eating chips would would affect me in a way that is very abnormal. So that was misophonia. And when I found out that this word existed, it explained a lot of the issues that I had growing up. You know, I know that that those my inability to to participate fully in classes affected my grades and so forth, and so since then, kind of during the pandemic, when everything was shut down. I had been working in the theater industry here in St Louis, and there was no theater happening for a couple of years. We didn't know for how long, so I decided to do something that was different than I started this organization to help people understand this really difficult to understand, sensory disorder, and there's been a lot of research happening on it, we know that it's actually very prevalent in society. There's been a number of prevalent studies that show that misophonia is actually quite common. As many as one in five people have the symptoms, and roughly about 5% of the population has it to a degree to where it impacts their life, to it from a moderate to severe amount. And so it can be disabling. I've worked with people who isolate themselves. And, you know, there's sounds and and visual things in the world that they they try to avoid, and and we end up avoiding things as a way of coping becomes very isolating. So we've worked with people who, even though they live in the same house as a parent, that maybe is activates that for them, they don't talk to their to their family, because it's so uncomfortable the sound of a person's voice. Or the way that they move is so uncomfortable that they stay in their room and and just text their family that's in the same house, it can be very isolating and frustrating. So I kind of went on a bunch of different tangents there answering your question, but hopefully that makes some sense, and I'm happy to explain any of it more. So Michael Hingson ** 10:17 what did you do as you were growing up and so on, to to deal with. I mean, you obviously did something that allowed you to be successful at going to school, whether your grades were affected or or not. You still did make it through and all that. What did you do to to deal with all of it? That's a great question of understanding yet, of what it really was to have misophonia. Fantastic Cris Edwards ** 10:40 question. Yeah, looking back, there were things that I would try to do, but I didn't have the awareness and I didn't have the words to explain to other people what I was dealing with. Because if I just tell people, if they don't know what it is, I can't the sound of the crinkling chip bag is driving me so crazy, it sounds crazy before we knew what it was, but, you know, a lot of it was just suffering and silence. I know it affected my mental health. It's sort of like I could try to compare it to if you're having an anxiety attack or even a panic attack, but you try to hide it, and that, you know an anxiety attack or something is not something you can control. They just come on sometimes. And if you were to try to hide that and and quell it so that people don't notice what you're going through, that's a little like what it's like to sort of suffer in silence and act like everything is normal, when internally, I'm just like wanting to leave the situation, because it's such an uncomfortable feeling being around totally normal sounds that are not a threat in any way. Michael Hingson ** 11:52 So you kind of just did suffer in silence. And yeah, I guess the best thing to say is coped, if you will, coped, Cris Edwards ** 11:59 and I would do things improvisationally to try to help. Looking back, I probably could have, if I'd thought about it, carried foam earplugs with me, which I do now, and worn those in class to kind of filter out some sounds. But I was talking to some other people recently who have misophonia in one of our peer support groups. And I would do little things like I would try to if you could rest your elbows on on your school desk, and put your hand your put your chin in your the palm of your hands together, you can kind of secretly put your fingers in your ears in that pose, but look like you're still paying attention. Yeah. So I would do things like that to where it looks like I'm still participating, but I'm actually blocking out some of the sound by secretly putting my fingers in my ears to get to the class and just little things like that I would do to try to get by. But Michael Hingson ** 12:53 as you matured and got older and so on, did any of the symptoms mitigate or go away, or is it still as prevalent for you as it ever was? That's Cris Edwards ** 13:04 a great question. My own experience has been a little bit of both. We don't have any research. We just have anecdotal stories on whether misophonia gets better with age or gets worse with age or not any different and people tell you different things. I think mine's been a little bit of both, in that there were things that didn't that used to not activate that misophonic reaction, that that anxiety and frustration and and panic that it brings about that do now. So for one example, is not everybody. It has that misophonic reaction activated by Pet Sounds. And that was never a problem for me until maybe about 10 years ago, where some noises that animals make would bring about that reaction. For example, we were talking about our cats right at the before we started recording today, and one of my cats is what I call a loud bather. You know, when she's bathing herself, the that very accentuated licking sound causes that, that involuntary reaction. So I, I have to kind of put her in the other room and she doesn't understand it. But so that's something that I have acquired. I've, actually acquired new we call them triggers. I try to avoid calling them triggers, because I think that term is kind of overused, so it doesn't even have any meaning anymore, but, but at the same time, you know, with with age and with introspection, I've learned coping skills. I've learned to deal with this. It is a part of my life, just like anybody with any kind of disability does their best to to accept some of the things that are going to be more difficult or different for us, and work on coping with the things that we can and changing the things we can through advocacy or accommodations or whatever. And so in a way, I've gotten better at dealing with it. I. Communicate about it very much more effectively now that I know the term for this thing, and you can Google it, and there is a definition, and there is research on it which didn't exist at all when I was a child, so I've gotten better at coping with it, even though I think my actual experience of it maybe has gotten a little bit worse. So who knows. Michael Hingson ** 15:21 Yeah, it's yeah, it's something that only time is going to really give you the opportunity to do exactly how it goes and so on. But what did you do after college? So what did college lead you to? Cris Edwards ** 15:34 Well, that's a great question. I was always active in the theater, but the theater industry is kind of difficult. It's a lot of with a normal job, typically you have some job security, so maybe you work there and you know that next month you'll still have your job unless things go wrong in theater. A lot of times you're hired on by production. So you might work for a month or two on a particular production of a particular play, and then when that's done, you're back to looking for work again. And so for for job security, I sort of went, after grad school, into the tech industry, and so I worked for a number of small tech startups in the early 2000s I worked at Apple for a while and did kind of a mishmash of things that had some benefits and some job security that the theater world didn't have, and and I worked in the theater more as kind of a after school extracurricular kind of capacity. So, yeah, it looking back, I did that, but it was still a struggle. I didn't know the word for this thing, and I knew that either other people were much better at dealing with being bothered by these sounds, or other people were not as bothered by sounds and and visual stimuli as I was. And so the 20 years ago, the idea of an open office. Was a big thing in startups, you know, you have just a big open office where everybody works, and that is a nightmare for people with misophonia and miso keynesia. And so I just struggled. It was just suffering in silence, like I said, doing my best to block out sounds when I needed or put up Visual barriers in the offices I worked in to to block out visual movements that might be very distracting and and uncomfortable, but I probably around 2007 I found out that there's a word for this thing and and slowly, over the years, I realized that it's a it's not just a made up term that somebody on the internet came up with. It's an actual medical term that was invented by audiologists and and there was a research beginning on it roughly 10 years ago. So yeah, when I look back, I just kind of had a mishmash of things that I have done professionally since then. And I started this organization because I I wanted people to know that they can ask for accommodations, that they can talk about this with the confidence that it is a real thing, but it is supported by science, and there are ways of getting through life with it. There's actually an entire department at Duke University dedicated to studying misophonia as the Duke center for misophonia and emotion regulation. So all those kind of things help validate that this is a just a strange, sensory based disorder. Not to get too long winded about it, at the beginning, I had mentioned that we could oftentimes connect the dots looking backwards. And, you know, I'm pretty open about sort of my experiences with things, just because I want other people to realize that they're not alone and that there are certain pitfalls that can happen and and it's not unusual. So when I look back, you know, in in my college years, I found that, as a lot of college students do, alcohol was something that helped me be more social with misophonia and my ADD and I'm kind of an introvert anyway, even though I can play an extrovert on TV, I was, I was, I was kind of a hermit in college and and theater is a very social right industry, and so people bugged me a lot about it, and I found that alcohol helped calm my senses, that I could be around other people and be in misophonically triggering situations, which I didn't know about at the time, and be more social. And so over the years, the alcohol became a crutch, and it became a much bigger problem than than my misophonia was, and I didn't realize it at the time, so that sort of took over my life, and I got sober about seven years ago, and really had to assess how I can get by in life with my sensory issues and needs without numbing my senses and causing a lot of problems in my life. If that that caused so I say that just so people know, because I hear other people who sort of self medicate, it's a understandable thing to do, but it really had a huge impact on my life. And I think there are better ways of dealing with invisible conditions than self medicating. So I just want people to know that that is also a part of my story that happened over the years, and I don't think it's unusual. Michael Hingson ** 20:28 Well, tell me a little bit more about, well, about all of that, in terms of dealing with it and so on, and what, what you've evolved into doing. Cris Edwards ** 20:37 It's a great question. So I, I guess since getting sober is a lot of things have happened. The pandemic happened, and, you know, I think I've, I've thrived. A lot of people find it interesting to know that, for example, I got married, and I know that's not really a big deal. That's a very common thing that a lot of people do, but it's important for a big deal for you. Well, it's a big deal for me, sure, but when we work with parents who have children with misophonia and other conditions, they really worry about their children, like, what kind of future will they have? You know, are they going to struggle with finding employment and finding friends and being in relationships and and doing typical things? And so when I they find out not that I was trying to be encouraging everything, but when they find out that I actually did get through grad school and got a master's degree, and I have gotten married with this misophonia, they're relieved to hear that it's possible to do fairly typical things. It may not be as easy. So yeah, that's that's kind of what I've done since getting so bright. I finally got married at the age of 45 we moved to St Louis, where my wife has a very good job in the library system, and started a very successful nonprofit, and have remained very active in the recovery community. All of these things are things that I've worked hard to do and and I wouldn't have been able to do if I was still sort of stuck in my self pity, self misery, self medicating phase of my life. I'm glad that's over with, but yeah, I feel like I'm playing catch up on life the last few years. But Michael Hingson ** 22:23 on the other hand, you're doing that, and part of it is, and is that you're, you've, you've discovered a lot about you, and yeah, you you had alcohol and so on, but you've gotten over that, and you've made some mental commitments that certainly have to be helping with you being able to address the issue of misophonia? Cris Edwards ** 22:42 Yeah, that's true. I would, I would think that pretty much anybody who has any kind of disorder or condition or disease that impacts your life, especially if it's disabling in any way you know, or affects your ability to do typical things in a typical way that that your average person would. You know, you have to do a lot of introspection. You have to be really creative with coping in life and coming up with unique solutions to get by. And that requires a certain amount of resourcefulness and and introspection and and intelligence. And so, you know, I I've been very fortunate to meet some wonderful people with misophonia. Through the misophonia community that is actually huge. People are finding out that they are a part of it, and they didn't even know it every day, and they're contacting us. And just wonderful people who are bright and talented, and I'm glad to be a part of this unique community that we find ourselves in. I think it's a big part of it too, just the validation that we get and the ability to share our experiences and our frustrations and successes and stuff. Yeah, yeah. Michael Hingson ** 23:56 Well, introspection is very important. Not nearly enough. Do we use it? And do we teach children in each other to use the whole concept of introspection to deal with things I wrote a book was published in August of 2024 called Live like a guide dog, true stories from a blind man and his dogs about being brave, overcoming adversity and walking in faith, and one of the main things that we talked about right from the beginning of the book, it's the book is all about helping people learn to control fear, rather than letting fear blind you or overwhelm you when something unexpected happens. And as you may know about, my story, having been in the World Trade Center and confronted by the horrific things that happened on September 11, I didn't negatively react, because I knew what to do. I had developed, although I didn't realize it at the time, a mindset, because I had focused on learning what to do in the case of an emergency. I knew what the evacuation procedures were. I knew why they were, what they were, and where to go, and the various options and so on. So I was. Prepared, although never expected to have to use it, but a lot of that also came from thinking about myself and how I would react in different situations, and not becoming paranoid over but rather really stopping and thinking at night when I had time, well, how would you react if this happened in this way? Or how would you react? Or what will you do with all the knowledge that you've gained? And I developed a mindset that said, You know what to do in the case of an emergency, and when the emergency occurred, the mindset kicked in. And again, a lot of that has to do with introspection. I think we don't spend nearly enough time in our own minds, thinking about ourselves and dealing with the things that that we face. One of the lessons that I've been teaching people for a while, and that comes out of the World Trade Center, is, don't worry about what you can't control. Focus on what you can and the rest will take care of itself. And there's so much that we worry about we don't have any control over, but we still worry about it, and all that does is engender more fear in our lives and makes us more uncomfortable, whereas if we would just worry about the things that we truly can worry about and not worry about the rest of it, which we can learn to do, we're much better for it. And in your case, it's the same sort of thing. You've got misophonia, okay? But at the same time, look at what you've done and how far you've come in terms of just mentally developing and preparing yourself because of the whole issue with alcohol and everything else, yeah, and you have grown, and that has to help in how you deal with misophonia. Cris Edwards ** 26:47 Absolutely you said it exceptionally well. And you know, anecdotally, sometimes people say that when you develop, you know, substance use problem of any kind, you kind of stop growing spiritually and growing emotionally, and I think that was true for me. So when I got sober around the age of 42 I had to catch up with being an adult. And one of those was introspection, like you said, it's, it's a lifelong thing. And I think Aristotle, or one of those, said that the, you know, the self examines life is its own reward. And through recovery programs, I'm very active in AA and and they focus on why, why you do the things you do. What is your what is your thinking problem that turned into a drinking problem? And that's just pure introspection, like you said. And I'm grateful to to have learned those skills of picking apart, why I do things, and how can I get through life better in a in a more earnest and and kind and forgiving way than I had been. And, yeah, I interestingly, I mean, you talked about faith and that sort of thing. I don't come from a particularly religious background. My family was fairly non religious, which was unusual back in the 70s in the south in Texas. So I didn't really have that background. But, you know, I even today, I consider myself fairly agnostic, but there's not a day that goes by that I don't fall back on the advice of the Serenity Prayer, which I didn't learn until I got into AA. What wonderful advice. I sort of came to that same conclusion through the Stoic philosophers, but they're teaching the same universal truth, which is exactly what you said. If there's something that I'm really stressed about and having a problem with, if I can ask myself, Do I have any control over the outcome of this, and if the answer is no, I need to work on forgetting it. I'm just my worrying isn't solving any problems. It's just making me suffer, but I can't do anything about it, and that's a hard thing to do, and it takes daily vigilance, but you're absolutely correct. And Michael Hingson ** 28:56 the other part of it is, even if the answer is no, introspection helps you. Then think about, well, why have I been worrying about it? Then, I mean, maybe something else that's pertinent that made you start to worry about it 100% and it might very well be that there you'll discover there is something about which you you do have some control regarding whatever it is, but if you don't take the time and well, it's not just taking the time to be introspective, it's also making the life choice to say, I'm going to think about this and I'm going to find the solution that works for me, and make that commitment. And that's got to be part of what you do, because it isn't just, oh, I'm going to think about this. Well, that's not enough. You also do have to decide, I'm going to deal with it. I'm going to find out what is going on, and then I can move forward. And I will move forward Cris Edwards ** 29:56 Absolutely, yeah. How you deal. If that powerlessness or inability to have any control is is you're right, the next step, and it's difficult. There's, there's so many things I I have no control over. Actually, most things in the universe I am powerless to influence. I can't change the weather. I can't move the planets any differently, you know, and so, not yet. Anyway, not yet, no. But same with situations. I mean, there's just some things that I that affect me that I don't really have the power to influence in any way. And so yeah, how you deal with that and not let let that fear, that worry, that angst, control your life, which it has done before for I think a lot of us, is a challenge. Michael Hingson ** 30:37 Well, what made you finally decide to start so quiet and form an organization to deal with misophonia. I know you mentioned the pandemic, but started, What? What? What happened? Cris Edwards ** 30:47 That's a great question. At the time, I could sort of see that there, I just had a hunch that misophonia was probably not the rare condition that it was considered and like, you know, six or seven years ago, it was thought to be a very rare disorder or a rare thing to experience, and I had a hunch that that wasn't the case. And I also saw that there was a lot of advocacy and awareness and support that needed to happen based off of the input I was receiving from other people with misophonia that nobody was doing there at the time, was one other nonprofit organization dedicated to the misophonia world, and I just wasn't really happy with what they were doing. And what they were doing was not much. They weren't really doing anything from the viewpoint of lived experience. Nobody on their board had misophonia. They were all sort of veteran clinicians, and they weren't doing all of the things that came to my mind as what needed to be done to spread awareness and to further research and on and on. And so I thought, well, I guess it's up to me, as Bob Dylan says, nobody else is doing it, so I have the opportunity to see if maybe it's something I can impact. And have been very fortunate to have some really notable wonderful people sign on early to our board and to sign on to volunteer and to help fund some of our our programs, like our student research grants, is are something that we we give out to graduate students who are interested in researching misophonia for a thesis project or a doctoral dissertation. We can give them some funding to undertake a small study. And we were fortunate enough to find some, some families who had a child with misophonia who wanted to fund that kind of research program. So we've been fortunate. We've We've done some very successful things. Not, not to pat myself on the back too much, because we've had a lot of help, but, but we, based on my experiences in the recovery community, I became a certified peer specialist, which is a something that the state of Missouri certifies after some training. And we started the first peer support program, comprehensive peer support program for misophonia in the world. And so we're training people to be facilitators of peer support groups for misophonia, and just a lot of things that didn't exist that I thought would be nice to have happen, or other people told me that they would like to see as resources for people with misophonia. And so we just try to do the things that people say they want that don't exist. Michael Hingson ** 33:32 Well, you got to start somewhere. Needless to say, of course, that's right. And and make it work. What's a really great success story that you can point to with so client that's that's really made a difference? Cris Edwards ** 33:47 Oh, that's a great question. We've got a kind of a weird mishmash of things that we do. We've sort of focused more on the research aspect of it, not only with our research grants, which have been, I think we've given out probably 10 of those in the last few years. But we also have some other research and support based things we just launched, actually kind of relaunched a project that we took on a couple of years ago, where it's just, it's misophoniaproviders.com it's a free website, an online directory of clinicians like psychologists or audiologists who know what misophonia is and and know how to work with clients who have misophonia. And we're working on training for clinicians so that they can get up to speed on it. There aren't really any proven treatments yet for misophonia, but there are ways of working with people who have misophonia, so that you can help them cope and get by and and maybe even test for other conditions and weed those out. And so there's ways of doing that. So we just, we launched a free online directory for for such clinicians in the last month, and we're working on the training for that. And that's really Phil. A huge niche. We decided to focus on that because misophonia is not well known, and we just heard so many people contacting us saying, I went to my doctor or I went to my counselor and said, Hey, I think I have this misophonia. And the counselor or doctor had no idea what it was. They'd never heard of it. They don't know how to work with it. They don't know what to do. And we heard that so much that we just realized that that is a huge bottleneck. If we take the prevalence studies I mentioned at the beginning of this episode, that 5% of the population roughly has misophonia to a moderate or advanced impacting what experience like they have in a way that impacts their life in some way, either they're avoiding situations, or it's affecting their job or their schooling or their relationships. That's still millions of Americans. And if millions of Americans are experiencing this, even at 5% and I can think of maybe 30 clinicians in the entire country that I would feel confident enough telling somebody to go to. That's a huge problem, if only 30 people are handling millions of of of sufferers or people who experience it. So we want to try to tackle that and really make it so that that we're training clinicians on misophonia. It is hard to understand. It's a strange thing for people to get their head wrapped around all of its idiosyncrasies, but I would like to say, hopefully in a year, that there's at least one or two clinicians in every state of the US that can see misophonic clients. Because currently that's not the case. So I think that that seems to be going really well. It's a huge project, but it's, it's really just to try to solve that problem that we hear so much about, and it is heartbreaking. If, if you talk to your trusted clinician about something and you know more about it than they do, that's kind of frustrating. Michael Hingson ** 36:58 Well, one of the things that that I'm sort of curious about in our modern world there where things continue to get better and so on. Are we seeing yet, any kind of advances, medically speaking and scientifically speaking, to help misophonia, or is it still too new? Cris Edwards ** 37:15 That's a great question. Yeah, we've been really fortunate. About four years ago, there was a family in the Chicago area that has a daughter with misophonia, and they started what's called the misophonia Research Fund. This is a private fund, family, family funded fund that has provided the money necessary for some very great studies. The the number of studies on misophonia in the last, let's say, three to four years has really ramped up. Researchers find it fascinating because it's so strange, like misophonia doesn't really align with any known conditions or disorders that we understand better, like OCD or ADHD, not that we understand those fully, but it's just it's an anomaly, and people want to learn about it because it's so strange, as far from a medical standpoint, I mean, and fascinating. And so there's been a lot of research on it. And of course, people are struggling every day with it, and would really like to see some kind of treatment in the near future. So there's a number of universities and labs around the world who have been studying this diligently, like at Duke at Baylor Oxford University has has some going on, among others. And yeah, they're coming at this from a variety of aspects. Some of the more recent work from Duke and from Oxford, aren't really, let's say, aren't really treating misophonia itself, but are working on using known practices to help cope with it better, so things like cognitive behavioral therapy, which is a well established psychological practice which covers a lot of different methods, has been shown to be fairly effective at helping people cope better and handle those triggering situations better in life. So there's some of that. Now we have some studies on the brain activity of people with misophonia and and there's about three or four of them that show that the way a person's brain responds with misophonia is different than how somebody who doesn't have it would respond to the same sounds. And so researchers are looking at those different brain areas that are activated in somebody with misophonia when they hear a particular sound and seeing if there's anything that we know of that can affect that. So, long story short, there's a few studies happening now on using existing medications that are on the market to maybe treat misophonia. We don't have the results of those that may not prove to be successful at all, but I. There's one in New York at Mount Sinai testing a very well established medication named called propranolol. That's a beta blocker that's been around for years, that's very affordable. There's some speculation that that might help affect the parts of the brain that misophonia uses, and again, I feel like I'm maybe I've had too much coffee. I feel like I'm being long winded. So I apologize. But as a third part of that, we're also seeing some interest on the technological front for assistive devices. One of the things that I think is really fascinating that has just started is there's a a lab, I think it's an academic lab in Washington state that developed an AI algorithm that is a context aware noise canceling algorithm. I was wondering about that. Yeah, so a lot of people with misophonia now use off the shelf noise canceling headphones. And noise canceling headphones aren't smart. They just knock out a particular frequency and that's it. This is a whole different ball game and and I, the people who have seen the prototypes of it, call it miraculous for misophonia. And the AI wasn't even developed for misophonia. It was developed for audio editing, a completely different use, but if you train this particular noise canceling AI on a type of sound, it learns what that type of sound is, and it can completely remove that sound in a noise canceling function, but not affect any other sounds. So for example, if somebody with misophonia was triggered by bird singing, that's not a real common one, but that, I'll use that as an example. It's a great example, though, yeah, you can train it with the types of bird noise that a particular find, a person finds aversive, and the AI learns what those are, and within the context of its input, can just completely remove those sounds, not based on frequency, but the actual sound itself, actual sound, yeah, and not affect the voices, not affect any other ambient noises at all. And if it works, as people say, that's going to be a wonderful assistive device for people to misophonia. It could be life changing. Michael Hingson ** 42:07 That'll be a major game changer, because that deals with the basic sound absolutely and you could be in a classroom and not worry about the kids chewing gum Cris Edwards ** 42:15 precisely. Yep, be cool. So there's a lot of work on, a lot of interest in treatments and stuff, yeah, Michael Hingson ** 42:22 well, and that's why I asked. It just seems like it would make sense, and I'm glad there's enough of an awareness about it now that people are, in fact, doing more research regarding it. Yeah, I'm assuming that misophonia would be considered a disability, Cris Edwards ** 42:41 absolutely. Yeah. One of the things that we started off that there was a big, important part of so quiet early days that nobody was really tackling was that misophonia can be a disability. It affected my life. It still affects my life every day in in all kinds of ways which I can go into. But you know, not for everybody. Some people have symptoms of it, and it's not not affecting their life. They're not avoiding things, or it's not impacting their relationships or their their life activities. But when I looked at the, say, the ADA definition of what a disability is. It's pretty broad, and I say what you will about the ADA, it's got plenty of things to criticize, but I think the definition that it uses to determine what is a disability is is pretty open, yeah. And so I appreciate that, and my experience with misophonia absolutely fits that. Misophonia has affected my social life, my schooling, my work. I've quit jobs because my misophonia. When I look back, there's been a couple of jobs that I just walked out of because something was so disturbing to me and my sensory aversion that I've actually left jobs, which I'm not encouraging anybody do that, but you know, it's impacted my life a lot, Michael Hingson ** 44:01 but you know a lot more now too, I do, yeah, and so that I would think can help make it more possible for you not to quit a job, or that you can change the circumstances so you can perform a job. Yeah, Cris Edwards ** 44:16 it's very I'm glad you said that. It's very validating to even have the most basic of affirming information. So the fact that it was given a name, this amorphous thing that was hard to explain and hard to describe, now has a has a name, I can tell people Google misophonia, and that will explain things very well. We have a consensus definition. A bunch of researchers about three years ago published in an academic journal just sort of a consensus definition on what we mean when we say misophonia, what this thing is as we understand it. So that helps probably one of our most low tech but popular programs or initiatives was so quiet. Is our free information cards, and these are just business cards, really. They're double sided business cards that say I have misophonia. Here's a brief description of what it is. You're not doing anything wrong, but that that sound is going to be very disturbing to me while I'm around. Would you mind not doing that? Like yeah, thank you for your help. And we printed those because a misophonic reaction is so physiologically uncomfortable, a lot of people feel very irate or frustrated or uncomfortable, or it's impossible to communicate about it in a way that's kind and and helpful when you're having that reaction. And so the cards we send for free to people all over the world. We've sent out 1000s and 1000s of these. The cards do the talking for you when you can't, and you can hand them out to people and help them learn about it. And those have been incredibly popular. But just having tools like that, I use the cards sometimes. If I'm talking to somebody new about it, a stranger or somebody at a that I've never met at a meeting or whatever, I can say, hey, you know, when you get home, you can look more, look up more about this particular thing. But here's what it's called. This is what I experience, and that's why I have the no chewing gum rule at this meeting. You know? But the cards are low tech. They're cheap, but hugely popular. We love sending them out. We sent them to every continent except Antarctica, and just, it's been very helpful in communicating about Michael Hingson ** 46:23 this. Well, you'll really have arrived when you get to Antarctica. Then, you Cris Edwards ** 46:28 know, we've reached out to people in Antarctica to see if they know anyone with misophonia. So we're working on that. Yeah, Michael Hingson ** 46:33 so low population continent, but still, right? But, you know, it's, it is still definitely an issue that needs to be addressed in so many ways, and it's so exciting that you're doing it. And I go back to the thing that you said earlier about the AI solution. You know, we keep hearing about AI and all the horrible things about it, but the reality is, it is like anything else. It's how we use it, and I think that's a very intriguing process that you're using AI to to deal with sound somebody once told me about the whole issue with noise canceling, and it was some time ago, so it's evolved a lot, but they actually had a house, and they had noise canceling processes around the house. So even in the city, you didn't hear all the city sounds until you got outside and away from the noise canceling And now, of course, it's a whole lot different, because you can do so much more about what you want to filter out. Cris Edwards ** 47:40 Yeah, yeah, that's absolutely true. And even very low tech solutions, I realized early on, and looking back, I can again, I can put the pieces together, but I like having a little bit of white noise around. So I have box fans around the house, and I leave the exhaust fan in the bathroom in the kitchen on, because it helps muffle things. And that little bit of white noise I find very helpful in in a low tech Michael Hingson ** 48:07 way, it's not ocean sounds. I Cris Edwards ** 48:11 actually like ocean sounds. Now, the interesting thing about misophonia is that every person with misophonia has kind of a different involuntary set of sounds that affect them. There's some ones that are fairly common, like eating sounds or poop slurping or whatever, very common. But not everybody with misophonia is triggered by those. And so I actually love the sound of Yeah, ocean waves, cats purring. I find those very relaxing. But not everybody does. Some people hate white noise. I whatever. Michael Hingson ** 48:43 I like silence, and so, yeah, I like the sound of the ocean and so on. But I also enjoy just sometimes not having anything on. And that's that's just me. But I believe when you're going back to being introspective, when you're really thinking and looking at things internally. It's nice to just be quiet and not have other things that distract you, because then you can really focus on what you need to do and listen to your own inner voice that you might not hear otherwise, absolutely. Cris Edwards ** 49:16 And one other thing is kind of hard to understand about misophonia is that complete silence is not always preferable. If you're in a completely quiet room, then every little noise is more noticeable, and that could be our problem. So we often joke about there's sort of a middle, middle ground of noise. If we go to a restaurant, you know, finding where the optimal place to sit in a restaurant where you're not likely to be to be a heavier misophonia activated is sort of a mathematical challenge, but a medium busy restaurant is ideal. It's too quiet, then you can hear everybody eating. If it's too noisy, it's overwhelming. There's kind of a general we look for medium busy restaurants as the ideal, because the noise and Chatter is just vague enough to cover up sounds and. That be, I don't know, it's kind of funny Michael Hingson ** 50:02 today i i don't seem to have any luck at finding very quiet restaurants any rush. Cris Edwards ** 50:07 That's true. But, um, you know, it's, as everybody who probably listens to your your program knows, it takes a lot of just reconfiguring plans all the time. It's a lot of improvising on the fly to suit our needs. And it's very common for me to go grocery shopping, and then if there's somebody popping their gum that you can hear all over the store, I have to leave, and I'll just have to come back later and finish my grocery shopping. It's just constantly rerouting and re orchestrating what I have planned to fit around the world, and the input that it provides is it's kind of a challenge. I Michael Hingson ** 50:44 guess I'm weird. I've never really learned to pop gum. I can chew it. I've never been a major gum chewer, but I've never really learned to pop it so I don't make noise like other people did. And in fact, in reality, I didn't learn to blow bubbles with bubble gum until, gosh, it must have been like about 2004 well, 2005 or 2006 I just never learned, but I finally did learn, and that's interesting, Cris Edwards ** 51:11 yeah, sometimes, like I I'll run into people in public, and I wonder if they have misophonia, whether they realize it or not. This is a strange anecdote, but when my wife were moving from we were moving from Denver to St Louis, and we stopped at a Denny's in the in the middle of Kansas somewhere, and we sat next to this older gentleman who was sitting by himself, and he didn't make any noise when he ate the silver word, never touched the plate. He chewed quietly. He didn't make a single noise. And we both noticed that, and we thought, I wonder if he has misophonia, and he's accommodating for himself, whether he realizes that there's a word for it, and it's a thing like he's being very conscientiously trying not to make any noise when he's eating. It's fascinating Michael Hingson ** 51:56 for me. I just never learned it. I mean, so I don't think it was an avoidance issue. I just never learned how to do it. And as I say, I finally learned how to blow bubble gum because somebody finally described the process in a way that I was able to emulate it and blow bubbles. But no one had ever described it to be and so having not seen other people do it and see how they do it, it was it was fun. I'm glad I can now blow bubbles, but, yeah, Cris Edwards ** 52:23 it's that's a that's a skill. One other thing that's interesting that you kind of reminded me of is when we have conditions or disorders like misophonia or miso Kinesia or other sensory aversion or sensory sensitivities, we can oftentimes end up in kind of a accommodations stalemate, where we have conflicting needs. So a lot of people who have, say anxiety disorders or PTSD or anxiety, and a lot of times people with autism, they like to make noises and and do what they call stimming, which is kind of self soothing, repetitive movements, popping bubble wrap is very soothing to them. But for somebody with misophonia like those are the things that we want to avoid. And so sometimes what might make one person comfortable and that they need to be doing for their own serenity is going to be very aversive to people with sensory disorders. And so in a classroom or work environment, sometimes we get these conflicts of needs. It's tough to navigate, Michael Hingson ** 53:30 yeah, how do you how do you deal with that? I mean, I guess you have the cards that you mentioned. You know, in general, I guess that's kind of the sort of thing that you have to do is to recognize you have to deal with people who aren't necessarily sensitive to what you're wanting to deal with. Yeah, Cris Edwards ** 53:48 in some of those instances, one of the things we do a lot is right writing advocacy letters from a lived experience standpoint on what misophonia is to help people get accommodations if they need them, and they're usually very simple, no cost or low cost things that people can can ask for at their work or in their their school. But a lot of times, you know that that gives us an impetus to ask for either remote learning, maybe for somebody with misophonia, that's a lot more common now, having a private workspace that's honestly an office, but is is quieter and and that way both people can can have what they need. And yeah, we try to come up with creative solutions to help everybody with accommodations. What Michael Hingson ** 54:34 would you tell someone today that you encounter who kind of feels helpless and hopeless because they have a condition like misophonia? Cris Edwards ** 54:41 That's a great question. I think one of the big reasons I started a nonprofit was strictly to help with that people with misophonia, or really, you know, any kind of similar condition or disorder can could kind of start feeling hopeless. Misophonia can be very isolating, like. I said, people avoid interacting with the public or their families or the world at large as a way of of coping. And it can seem like the world in its current state, is not made for people like us. The world is a noisy place. Yeah, we're we're in a society. And so it can, it can start. You can kind of get down in a in a hopelessness pit, as I call it, kind of a depression hole, thinking, well, am I cut out for the world? You know, what kind of job am I going to have? I have to work with other people. I have to go to school with other people. I actually like talking to other people. I just can't I sort of compare it sometimes to an allergy, so a person with, say, a peanut allergy might actually like peanuts. They just can't have them. And so I try to tell people that all hope is not lost, even though we don't have a proven treatment yet, we should in the future, things are getting better. We have a lot of things now that we didn't have when I was growing up, as far as information and support and a community that all understands this and those things can be wonderful. We have peer support meetings and just to hear, hear somebody say, you know, I've never met another person before today who had misophonia, and knowing that this thing that I have had such a hard time explaining to my family, that you all get it, you all know what it's like, and when nobody else in my life truly gets it, that's That's amazing. All hope is not lost. And one day at a time, we can kind of get through. And it's a challenge, as it is with any disability to get get through, hour by hour, but over over time. You know, I, I feel like my life is going well, even with my invisible disabilities or invisible disorders. Just takes a little extra work, a little more creativity, little more understanding from other people, so on, so forth. But Michael Hingson ** 56:55 you synthesize that and you understand it, which is important. So you've, you've had that blessing, and I'm glad that you're able to pass that on to other people being being curious and nosy. As I mentioned earlier, we got introduced to Sheldon. How did you guys meet? Cris Edwards ** 57:09 That's a great question. You know, I was for a completely unrelated reason. I was looking at business websites. I for our website, or so quiet website I wanted to put together terms and conditions. Now, geeky people know that pretty much any website you visit for a business organization, there's some page on their website that is the terms and conditions for using a website. Most people don't venture into those because they're just legalese, but they exist. So I was looking at some examples. What's that? But they exist. They exist. Yeah, for legal aficionados, but I was looking, I think you, if I remember correctly, and don't quote me on this, I think it was the Dr Bronner's soap page had this little accessibility button in the lower right corner of every page of their site. And I was like thinking, what is that? So I clicked on it, and I brought up this really cool, robust menu of accessibility options for visual impairments, ADHD, you know, helping you focus on things, just any kind of thing you can imagine, as far as ways that you can change a website to make it more accessible was on there, and that blew my mind. And of course, running a nonprofit with a very popular website that's based around particularly sensory disabilities, I had to reach out and and I found out that it was the access be plugin, it's very easy to install on our website. And so I reached out, and they put me in touch with Sheldon, who who helped us get on board and add it to our website, and has been really very helpful and a good advocate for people like us, and it's been working for you? Yeah, yeah. I'm I'm really delighted to have that on our website and be able to offer that to everybody who visits us. Michael Hingson ** 59:01 Well, that's cool. I'm glad that it's working well and that it's helping people be able to interact more with the site. And you're right. It's got a lot of different profiles. And the neat thing about accessibe is it continues to grow and expand, and so much more than it used to be. And then we'll continue to do that, which is another example of AI. It's not kind of everything as perfectly as one would like, but there are other alternatives that accessibe has for websites that are more complex, but still, the fact that you're able to make it work, and it's enhancing your website that's as good as it gets. Yeah, Cris Edwards ** 59:36 and I think, if I remember correctly again, I'm kind of new to accessibe, but I think part of the AI is that it generates image descriptions kind of magically, which blows my mind. Some are Michael Hingson ** 59:47 more accurate than others, maybe so, but that's okay. But you know what? They're getting better all the time. That's the real issue. And so images that may not be described with. The AI technology and described well today might very well be much more accurately described in six months. That's the neat thing about accessibe. It is so scalable, it is and it makes it possible when, when any improvements are made to accessibe, it improves every site that uses Cris Edwards ** 1:00:20 automatically. Cool, yeah, yeah. And I just, while we were talking, I think I'll reach out to Sheldon, because I just had an idea for a feature that I don't think is on there that I could recommend, and that is white noise and brown noise as an option, a little player. We added a brown noise player to our website, but if that was a part of the accessibility options to have kind of a white noise or, ah, I think I'll recommend that to Sheldon. We'll see what happens. Michael Hingson ** 1:00:43 Make sense? See what happens. Yeah. Well, if people are speaking of reaching out, want to reach out to you and learn more about so quiet and so on. How do they do that? That's Cris Edwards ** 1:00:52 a great question. You can visit our website. It's just so quiet.org. You can find us on pretty much every social media platform. We have the same handle for everyone. It's so quiet org. Or you can email me at hello at so quiet.org Michael Hingson ** 1:01:08 There you go. Well, people will reach out. It is easy, likewise, and I think that's so cool. Well, I want to thank you for being here. This has been very informative and a lot of fun, and I've learned a lot, I love to say that if I'm not learning at least as much as anybody else who listens to the podcast, I'm not doing my job right. Yeah, I really enjoyed learning and really valued the time we got to spend. So you are always welcome to come back any old time you want, if you got other things to chat about. Have you written any books yet? No, to work. Get to work. Cris Edwards ** 1:01:41 I'm thinking about that. You know, there's actually only been one book on misophonia published by a major publisher, in other words, that wasn't self published, and that came out last year by Dr Jane Gregory. She's a great collaborator of ours, but maybe I will write a book, but I'll tell you, Michael, it's it's been wonderful. I thank you so much for having me on your on your podcast and for doing what you do, it's been a delight to learn your story as well and learn about, you, know, your experiences and and we talked a little bit about philosophy and self reflection, and that's it's just been wonderful being on here. So thank you so Michael Hingson ** 1:02:13 much. Well, this has been fun, and I hope that all of you listening out there have enjoyed this. I'd love to hear from you. Love to hear your thoughts. Love to hear what you like, maybe what you didn't, but I hope you liked it all you can reach me easily enough. It's Michael M, I C, H, A, E, L, H i at accessibe, A, C, C, E, S, S, I b, e.com, or go to our podcast page, which is w, w, w, dot Michael hingson.com/podcast, and Michael hingson is spelled M, I C, H, A, E, L, H, I N, G, S O n.com/podcast, and wherever you're watching or listening, please give us a five star rating. We love getting ratings, and we appreciate the high ratings that that you give us and then and any input that you have. And Chris for you and anyone out there who is encountering the podcast. If you know of anyone else who ought to be a guest, please let me know we are always looking for more people to come on uns
What an amazing year 1966 was in music. Dylan's Blonde on Blonde hit the racks. So did The Beatles' Revolver, The Beach Boys' Pet Sounds, The Stones' Aftermath and so many more.Into this stellar crowd quietly strolled Hums of the Lovin' Spoonful, the third studio album by Greenwich Village's own folk-rock mavens. Today the disc just barely makes it onto a list of the top 50 albums of that lush, flush year, but in its own way, it made wonderful waves.Hums — which would ultimately be the last full project by the Spoonful's original lineup — was the band's concerted effort to record in a wide variety of styles on a single disc. For it, they composed and played pop-, country-, jugband-, folk- and blues-fused tunes.The album spawned four charting singles, including “Summer in the City,” “Rain on the Roof,” “Nashville Cats” and "Full Measure.”Of “Nashville Cats,” principal songwriter John Sebastian said, "We thought our version would cross over to the country market. It never did. So we're always kinda, gee, well, I guess that tells us what we are — and what we aren't."Incidentally, Flatt & Scruggs did take "Nashville Cats" to the country charts, hitting No. 54 with it as a single.And elsewhere in the country crowd, Johnny Cash and June Carter covered Hums' “Darlin' Companion” on 1969's Johnny Cash at San Quentin album.About This Song“Loving You,” Hums' opening track, was never a hit single for the Spoonful, but a month after the disc's release in November 1966, Bobby Darin made the Top 40 with a cover version of the tune. Subsequently, the song also became a good vehicle for four different female vocalists, including Anne Murray (1969), Helen Reddy (1973) and Dolly Parton (1977) and Mary Black (1983).Meanwhile, the song came into the Floodisphere before The Flood was even The Flood.In 1975, after a year of regularly jamming together, Charlie and David started looking for new material to work on beyond their main interests in folk music, and for a brief time they landed on The Lovin' Spoonful's catalog.Here — like the audio version of a crinkled old baby picture — is a sound clip fished from The Flood archives. Click the button below to hear Charlie and Dave sampling the song exactly 50 years ago this week at a jam session at the Peyton House:The Spoonful's Jug Band RootsOnly later did Bowen and Peyton realize that The Lovin' Spoonful had been heavily influenced by some of the same 1920s-'30s jug band tunes that The Flood loves. Before he founded the Spoonful, John Sebastian with his partner Zal Yanovsky, long active in Greenwich Village's folk scene, set out to create an "electric jug band.”"Yanovsky and I were both aware of the fact that this commercial folk music model was about to change again,” Sebastian recalled, “that the four-man band that actually played their own instruments and wrote their own songs was the thing.”In early 1965, as they prepared for their first public performances, Sebastian and Yanovsky along with their new band mates Joe Butler and Steve Boone, searched for a name.It was Fritz Richmond, the washtub bass player for the Jim Kweskin Jug Band, who suggested “The Lovin' Spoonful,” referring to the lyrics of the song "Coffee Blues" by the country blues musician Mississippi John Hurt. It worked and it stuck.Our 2025 Take on the TuneAt last week's rehearsal, The Flood channeled those rich jug band roots of the Spoonful. For this tune, Jack switched from his usual drum kit to those funky wooden spoons and Charlie reached for the five-string. Then Danny, Sam and Randy just did what they always do to make it all work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
Carnie assured me she's never done an interview like this in her life, so it's an honor for Discograffiti's “Beach Boys: And Your Dreams Come True” Series to have had this opportunity. Here, then, is Part 1 of the longest interview Carnie's ever given, and on a subject she rarely talks about…her father's band, and what it means to her. She picked 7 of the most important Beach Boys albums of her life (plus a solo LP), which, if taken together, form a patchwork quilt that defines the essence of Dad as she knows him. We, of course, know him as Brian Wilson, and so rarely do we get to have such an intimate glimpse of him. Here's just a few of the many things Carnie discusses with Discograffiti in this podcast: Her father's typical breakfast in the 1970s; Carnie's memories of Grandpa Murry; How her parents felt about her Playboy appearance; What music's been playing uninterrupted on a loop for the last 19 years in Carnie's home; Carnie's fraught experiences while being looked after by Dr. Eugene Landy; And her feelings on Pet Sounds and Friends! Listen: linktr.ee/discograffiti I support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a Beach Boys superfan like me, you'll want The Director's Cut of this episode. It's ad-free and features 13 additional minutes of essential material! Purchase it as a one-off or better yet… Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher after having been a member for 3 months. SUBSCRIBE NOW!: Patreon.com/Discograffiti CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: https://podfollow.com/1592182331 YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram: https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about. If you're already a member, please comment below about your experience. www.Patreon.com/discograffiti #carniewilson #wilsonphillips #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #vinyl #aljardine #thebeatles #brucejohnston #rock #petsounds #vinylcollection #goodvibrations #paulmccartney #surf #rocknroll #davidmarks #records #surfing #california #beach #surfrock #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue
MONOLOGUE The Liberal Carbon Tax Con: Desperate Lies, Empty Promises, and Political Survival NEWSMAKER EKOS Research Poll Shows Liberals Closing the Gap – Is this a Mirage? https://www.thewrit.ca/p/projection-update-signs-of-liberal Wyatt Claypool, Senior Contributor with The National Telegraph https://www.youtube.com/@thenationaltelegraph9253 OPEN LINES THE CULT OF CLIMATE CHANGE Trump signs executive order directing US withdrawal from the Paris climate agreement — again What Does the Paris Agreement Actually Do? https://apnews.com/article/trump-paris-agreement-climate-change 788907bb89fe307a964be757313cdfb0 Tony Unveils New Data Analysis Software https://www.visitech.ai Tony Heller, Geologist, Weather Historian, Founder of Real Climate Science dot com MONOLOGUE Trump Shows the Way: It's Time for Canada to Ditch Woke Policies and Get Back to Work NEWSMAKER Biden preemptively pardons Anthony Fauci https://www.wnd.com/2025/01/bidens-pardon-for-fauci-is-in-no-way-going-to-stop-congressional-investigations/ Donald Trump Backing mRNA Vaccine Project Gets Backlash https://www.newsweek.com/donald-trump-mrna-vaccine-cure-cancer-ai-2018701 Naomi Wolf is the Author of The Pfizer Papers: Pfizer's Crimes Against Humanity. Co-founder and CEO of DailyClout.io THE X WARRIORS Liberal Leadership Candidate Mark Carney has submitted his paperwork to enter the race Ahead of tomorrow's deadline. He Claims He's an “Outsider.” Brittani Russell aka Brattani Political Commentator. Her handle on X is @BrattUnderscoreWorld THIS DAY IN ROCK HISTORY In 1966, The Beach Boys entered Gold Star Studios to record “Wouldn't It Be Nice,” the opening track on their forthcoming album, Pet Sounds. In 1977, Paul McCartney proved his post-Beatles prowess when he topped the US album chart for the sixth time with Wings Over America. In 1983, after nearly two years on air, MTV began broadcasting to the West Coast of America. The 24-hour music video network fundamentally changed the way the world interacted with music and was, for many years, the ultimate youth culture tastemaker. Jeremiah Tittle, Co-Host of "The 500 with Josh Adam Myers" Podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
This interview began with an innocent phone call placed to Beach Boy David Marks asking if it was possible to one day do an interview, and it became clear very quickly that this WAS the interview. No prep, no notes, no Zoom even…honestly, I was just holding on for dear life. What followed, in my opinion, was the most honest interview in Discograffiti history. Here's just a few of the many things David discusses with Discograffiti in this podcast: The Beach Boys songs on which David feels he's getting screwed out of royalties; The real truth behind his ousting from the band, as David sees it; His wildly honest assessment of The Beach Boys albums that came after Pet Sounds; And, in a Director's Cut exclusive, the incredible story of how his two blank-check budget LPs with The Moon came together. Listen: linktr.ee/discograffiti I support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a BEACH BOYS superfan like me, you'll want THE DIRECTOR'S CUT of this episode. It's ad-free and features 11 ADDITIONAL MINUTES of essential material! Purchase it as a one-off or better yet… SUBSCRIBE TO OUR PATREON and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening! And now with Discograffiti's 2025 Patreon Membership Super-Drive, you'll also get a FREE copy of Metal Machine Muzak and an episode all about YOU at the Lieutenant Tier or higher. SUBSCRIBE NOW!: Patreon.com/Discograffiti A very special thanks to Joe Kennedy for his audio wizardry and that killer new theme song. TIPS: VENMO GEBROE @David-Gebroe PayPal @davidbgebroe@gmail.com Even a $1 tip will be massively helpful. Thank you. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: https://podfollow.com/1592182331 YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram: https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about. If you're already a member, please comment below about your experience. www.Patreon.com/discograffiti #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #vinyl #aljardine #thebeatles #brucejohnston #rock #petsounds #vinylcollection #goodvibrations #paulmccartney #surf #rocknroll #davidmarks #records #surfing #california #beach #surfrock #summer #offthebeatenpath #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue
Last Harbour Bazaar of the year so Steven & Davey sharing their tracks of the year from Quincy Jones Party action to saturated Pet Sounds inspired pop to stirring shanties via Serge Gainsbourg kids choir and pagan folk! Plus a play and details of the Southend YMCA Christmas Single 2024 Celebrate The Youth (Shine bright) Tuck in then see you in 2025 Playlist Beat-Nik – J.M.Van Eaton How Can I Love Her More – The Lemon Twigs It's My Party – Lesley Gore Soul Bossa Nova – Quincy Jones Kettle Whistle – Jane's Addiction All Along The Watchtower – Bob Dylan Friend Of A Friend – The Smile Crazy You – Prince My Father's Sheep Is Dead – Milkweed Bye Bye Baby – The Popguns Tout Le Garcons Et Les Filles – Francoise Hardy Ferch Gyda'r Llygaid Du – Tristwch Y Fenywod Celebrate The Youth (Shine Bright) – Southend YMCA Christmas Single 2024 Sam's Gone Away - The Fisherman's Friends Muuntautuja – Oranssi Pazuzu Everything Is You – Holly Hannigan Days Of Shaking – M G Boulter Links Celebrate The Youth (Shine The Light) – Southend YMCA Christmas Single https://www.youtube.com/watch?v=_qrLRf8DmwQ French Kids Playing Tribute To Serge Gainsbourg https://www.youtube.com/watch?v=unYu22Ign1E SHIP FULL OF BOMBS THAMES DELTA INDEPENDENT RADIO If you would like to support the station and are able to do so then please pledge only what you can genuinely afford at www.patreon.com/sfob Please like and subscribe from wherever you stream your music and podcasts.
Text us, and Rock on!What happens when a punk band sheds its underground skin to emerge as Grammy-winning innovators? We explore this fascinating transformation with the Flaming Lips' album "The Soft Bulletin" and draw parallels to the legendary impact of "Pet Sounds" on the '90s music scene. Tim and I reflect on our personal journeys with the band's music, including a missed concert experience and an unforgettable rendition of "Oki from Muskogee" with Wayne Coyne. Join us as we pay homage to the Flaming Lips' creative process, introspective lyrics, and the soundscapes that continue to mesmerize fans across the globe.Ever wondered how humor and emotional depth can coexist in music? We tackle this intriguing duality as we dissect tracks like "A Spoonful Weighs a Ton" and "The Spark That Bled," drawing unexpected connections to legends like Led Zeppelin and Stevie Wonder. Our conversation is peppered with pop culture references, from Charlie Sheen to bizarre musical techniques, creating a tapestry of sound and storytelling that's as complex as the band itself. Expect a mix of laughter and musical insight as we celebrate the eclectic nature of the Flaming Lips' artistry.And what about those non-hit tracks that often fly under the radar? We dive into the rich themes of change, nostalgia, and the metaphorical battles embedded in the album. With a playful nod to pop culture and the band's whimsical approach to music, we rank our favorite non-hits, with "The Spark That Bled" and "Race for the Prize" earning top honors. As we wrap up, we can't resist a light-hearted reference to "Sharks with Laser Beams," ensuring you leave with both a smile and a newfound appreciation for the Flaming Lips' enduring legacy.Support the show
Here comes that Santa Ana wind again, blowing us right into the slightly skewed world of Steely Dan.It was never a question whether Strong Songs would do a Steely Dan episode, it was more a question of which song to focus on. In the end, Kirk chose "Babylon Sisters," a culmination of the band's incredible 1970s run that exemplifies Fagen and Becker's brand of pristine, laser-focused groove. It's also arguably the definitive recording of Bernard Purdie's signature Purdie Shuffle.Written by: Walter Becker and Donald FagenAlbum: Gaucho (1980)Listen/Buy: Apple Music | Amazon | SpotifyALSO FEATURED/DISCUSSED:“Sloop John B,” Bahamian folk song as recorded by The Beach Boys on Pet Sounds, 1966“Papa Was a Rollin' Stone” by The Temptations from Law of the Land, 1972“Cousin Dupree” by Becker/Fagen from Two Against Nature, 2000“Reelin' in the years” by Donald Fagen from Can't Buy a Thrill, 1972“Rikki Don't Lose That Number” by Fagen/Becker from Prezel Logic, 1974“Black Friday” by Becker/Fagen from Katy Lied, 1975"Peg," "Aja," and "Home at Last" by Becker/Fagen from Aja, 1977“Sing Sing Sing (With a Swing)” by Louis Prima performed by the Benny Goodman Orchestra, 1936“Cissy Strut” by The Meters from The Meters, 1969"Rosanna" by David Paich as recorded by Toto on Toto IV, with Jeff Porcaro on drums (and Tom Scott on alto sax!)Rob Brown's Purdie Shuffle tutorial: https://www.youtube.com/watch?v=g41Ab8iDaD0OUTRO SOLOIST: Kyle MolitorKyle is a Portland-based trombonist who plays in all sorts of bands, and was also featured on the year three Strong Songs theme msuic. Find him on Instagram @tbonemolitor and check out his latest single here: https://distrokid.com/hyperfollow/kylemolitor/the-jazz-feat-toranpetto----LINKS-----RECAST RECOMMENDATION: "Nite Crawler" by Larry Carlton from Larry Carlton, 1978 and Yacht Rock: A DOCKumentary streaming on Max, 2024SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERnewsletter.kirkhamilton.comJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------DECEMBER 2024 WHOLE-NOTE PATRONSElizabeth CulverMeryl AllisonRobyn MetcalfeCesarBob TuckerCorpus FriskyBen BarronCatherine WarnerDamon WhiteJay SwartzRushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshMelanie AndrichJenness GardnerNathaniel BauernfeindPaul DelaneyDave SharpeSami SamhuriJeremy DawsonAccessViolationDave FloreyDECEMBER 2024 HALF-NOTE PATRONSChristopher Selby SpinkPhilip KellyDaniel NervoKevin StaffordLawrenceSy JacobsirritableIan PiddAndrew HoferJordan GatenbyMelissa KuhnsAshleySeattle Trans And Nonbinary Choral EnsembleKevin MarceloSamantha CoatesJamesMark NadasdiJeffDan CutterJoseph RomeroOl ParkerJohn BerryDanielle KrizClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzSuzanneRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan LaserBrian John PeterAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiLee R.Chris KotarbaLynda MacNeilDick MorganBen SteinSusan GreenGrettir AsmundarsonSean MurphyRandal VegterKaya WoodallRobert Granatdave malloyTim RosenwongAlan MaassNick GallowayHeather Jjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareRichard SneddonJanice BerryDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperMiles FormanBruno GaetaKenneth JungZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemonCookies250Angela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelmaniacEric HelmJonathan DanielsCaro FieldNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo
Melissa Weikart is a French American singer songwriter currently based on Strasburg. Her third and newest EP, Easy, (out January 17th) is a sonic and production expansion on her previous work. Melissa shares her experience “growing up French” in Boston, why she appreciates her U.S. music education and how a teacher encouraged her to establish her own voice and process that gave her a musical identity at a young age. We learn why a collaborative project recomposing Pet Sounds explores the gendered nature of genius, how an accidental recording became the new single, and why Wendy Eisenburg and Lana Del Ray influenced the new recordings. Melissa tells us how she was tricked into exposing here lack of pop culture knowledge as a kid, Joe learns why Strasburg in the “Christmas Capitol” and we hear two new songs from Easy. Melissa Weikart Episode supported by Izotope Ep supported by our friends @izotope. Izotope holiday savings start now! Head over to izotope.com now to and get massive savings on all their production software. Use code FRET10 at check out. Episode supported by Distrokid Check out the Distrokid App! and NOW you can apply for a TikTok Artist Account directly through your DistroKid account! All at distrokid.com
Beach Boys legend Brian Wilson shares the stories behind Pet Sounds, his mental health battles, and the music that still inspires him after decades on stage.
John 8:31-36Then Jesus said to the Jews who had believed in him, ‘If you continue in my word, you are truly my disciples; and you will know the truth, and the truth will make you free.' They answered him, ‘We are descendants of Abraham and have never been slaves to anyone. What do you mean by saying, “You will be made free”?'Jesus answered them, ‘Very truly, I tell you, everyone who commits sin is a slave to sin. The slave does not have a permanent place in the household; the son has a place there for ever. So if the Son makes you free, you will be free indeed. A little over 20 years ago, Rolling Stone magazine published its first list of the 500 greatest albums of all time. They did so because people were talking about the death of the album, probably in large part thanks to Napster and young teens downloading songs from limewire on the family computer and burning cd's with random songs. Rolling Stone has updated that list a few times since the original release, most recently just last December, 2023. According to them, Blue by Joahnie Mitchel came in at three, followed by the Beach Boy's Pet Sounds at number 2, and taking the top spot at number 1 was Marvin Gaye's “What's Going On”. I am not here to argue about what albums should have been on there or which one's they got wrong, though I feel I should mention not one Indigo Girls album made the list making one of your pastor's very sad. The list is quite arbitrary, mainly because it was simply ranked choice voting by a variety of artists, producers, and critics. I think many would argue that like beauty, good music lies in the ear of the listener. And while I agree, there are some things I think great music does to or for a person. Now I am just a pastor who played the Tuba for five years, so take this with a grain of salt, but for me Great music proclaims a truth that we experience in our lives. Through storytelling, the melody, or the art of its composition, It can tell us something that we need to know, a truth we might not have otherwise understood.On this Reformation Sunday we focus on music and the good it does in our lives and faith, because this year we celebrate the 500th anniversary of the first Lutheran Hymnal. In 1524, Luther took four hymns he had written and four from his friend Paul Speratus to make what was called Acht-lie-der-buch, or in english the “Eight Songs Book”. It was nothing crazy to produce a hymnal, but Luther and the reformation as a whole changed the way the church engaged with music forever. Luther wanted songs to be written with simple words, words that everyone would know, not just the highly educated. And he wanted the music to be familiar, something people might already know. So he often borrowed popular folk tunes of the day and set lyrics to them that people would understand, making it easy to sing along with. This was revolutionary, because at the time the catholic mass was done entirely in Latin, most church goers didn't know the music, and therefore no one but the priests sang in worship. Luther's approach to music changed all of that. He wanted everyone to sing since that's how people would not only understand the gospel message, but because the music was catchy and familiar, the good news of Jesus Christ would always be on one's lips, praising God morning, noon, and night.He wrote on multiple occasions that next to the Word of God itself, music is the greatest treasure in this world. When done right, it helps one's heart, quiets and cheers the soul because it teaches the gospel and praises God. That's why Luther loved music. You see Luther suffered from terrible anxiety throughout much of his life. In his early years of being a monk, he would fall into these dark episodes of despair. He felt like God didn't love him, like God couldn't love him. He wasn't good enough, he didn't keep all the commandments like he should, and didn't do all the things the Bible says Christians should do. He writes about this feeling in one of those hymns from that first hymn book 500 years ago, saying “life had become a living hell, so firmly sin possessed me. My own good works availed me naught, no merit they attaining; my will against God's judgment fought, no hope for me remaining.” My guess is at one time or another, or maybe even right now, you've felt hopeless because you aren't good enough: not smart enough, not fit enough, not successful enough in the eyes of the world, and certainly not good enough in the eyes of God. You try so hard to get it right, to pray more, get less angry, be more generous, or even care about all the suffering in this world. And you may for a time, but you can never quite rid yourself of whatever it is that makes you feel like God could not and should not love you.But then Luther read again what we heard this morning from Romans 3: “No one is justified by what they do. We are justified, we are made right with God only by God's grace as a gift, through the work of Jesus Christ”. Later in that same hymn, Luther shares this good news from Jesus' perspective, “Your ransom, I myself will be; for you I strive and wrestle. For I am yours, your friend divine, and evermore you shall be mine.” In other words, Luther remembered that it's not what he says or does or how much money he pays the church or how many prayers he lifts up, none of that takes away his sin or puts him in the right relationship with God. Only Jesus does that by his work on the cross, taking our sin in exchange for his grace. Only a God who loves me more than I can fathom would do such a thing. And that's something worth singing about. Now there are plenty of songs that proclaim that truth, from ancient hymns to albums on that top 500 list. Yet, recently I heard or more like we heard a new song that shares the heart of the gospel, +Mark and I, I mean.In August, we went to an Avett Brothers concert together at Gainbridge Fieldhouse. A few weeks before the show, I reached out to a stranger selling her tickets on Facebook only to then check the family calendar and realize we were booked. On the day of the concert, the woman reached back out and said I could have the tickets, no cost, completely free. We canceled our plans, but couldn't find a sitter so short notice, so Katelyn graciously agreed to stay behind with Clive if I could get someone to go. And I know of no one who likes concerts more than Pastor Mark Havel. So we went and about halfway through, Scott and Seth, took the stage with nothing but an acoustic guitar and their voices. And they sang a new song. Each verse juxtaposes the many ways we go through life, whether we speak up or are silent, if we are willing or we are done. If we're courageous or cowards. All the verses go through a series of these conditions, but each one ends with proclaiming the truth “we are loved”. And the chorus goes, “Every stitch and seam, every wish and dream, even in tragedy, there lies divinity. Even as hope seems lost, it may be found again. I have felt alone, but I have never been.” Their voices filled the fieldhouse and in that moment, I believed them. It was as if they were telling me again for the first time, the heart of the gospel, that no matter what you do in this life, it does not earn you grace. You are loved, and nothing in this life can take that away from you. As the song came to a close, I turned to Mark and said “don't even think about it, I'm using that in a sermon first!”On this reformation Sunday, I invite you to sing, not just today but everyday. To lift your voice, your instrument, and praise God through the gift of music. Find a song, whether it's 500 years old or brand new, whether it's on the top 500 albums or not, find a song that proclaims the truth of the gospel, that no matter what, we are loved. And then sing that song every day over and over again, thanking God for the gift of grace and music. Amen.
For the final “regular” epipod of Finest Worksongs, we finally tackle a subject that we've held off for so so long: the Beach Boys' masterpiece “Pet Sounds.” It's an album that was revolutionary for its time, and still sounds as such to this day. “Pet Sounds” was the creation of an inspired Brian Wilson, who dreamed, envisioned and ultimately crafted the album to his desires with the help of The Wrecking Crew (and NOT his band mates). When the rest of the band finally arrived, Brian “just” needed their vocals - and they weren't too thrilled about it at the time. But some 60 years later, the world finally caught up to what Brian Wilson had in mind. And it's arguably one of the greatest albums of all time.
Pet Sounds, What are Your Favorites? Spiritual Medium Marilyn Kapp discusses the healing properties of sound. So many beautiful sounds vibrate with frequencies aligned to relax and heal us. We ourselves can make a contribution As one out of body kid came in to say, “I love my Mom's voice, even if she yells at me!” Connect with Marilyn Kapp and get a personal reading. Learn more about your ad choices. Visit megaphone.fm/adchoices
Joe interviews writer / DJ / producer / music historian Chuck Granata, author of "Sessions with Sinatra: Frank Sinatra and the Art of Recording" and "Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds." Plus, Hongmei shares an adorable rendition of a classic hit song; Jessica tells us about some of the most anticipated books hitting our shelves this month; and Archana highlights some of the great programs on our October calendar.
In this episode of Dem Vinyl Boyz, we dive into one of the most influential albums in music history—The Beach Boys’ Pet Sounds, released in 1966. Often regarded as a masterpiece, Pet Sounds redefined what a pop album could be, blending lush harmonies with complex production techniques and introspective lyrics that transcended the surf rock sound The Beach Boys were known for. Featuring timeless tracks like "Wouldn’t It Be Nice," "God Only Knows," and "Sloop John B," Pet Sounds captured Brian Wilson’s genius as a producer and songwriter. The album's orchestral arrangements and emotional depth set it apart, influencing countless musicians and marking a turning point in the evolution of popular music. In this episode, we’ll explore the making of Pet Sounds, discussing Brian Wilson’s innovative recording techniques, the challenges the band faced during production, and the album’s impact on the music industry. We’ll also reflect on how Pet Sounds continues to inspire artists across generations and remains a beloved album among fans. Join us on Dem Vinyl Boyz as we celebrate Pet Sounds, an album that pushed the boundaries of pop music and remains one of the most revered records of all time.
What better way to put a bow on the Summer of Don then to talk about one of his favorite records – The Beach Boy's landmark album Pet Sounds. Join us as we try to decipher Brian Wilson's genius and discuss the record's significance today.The Beach Boys – Pet SoundsJpegmafia – I Lay Down My Life For You Meshell Ndegeocello – No More Water: The Gospel of James Baldwin Action Bronson – Johann Sebastian Bachlava The Doctor Nathaniel Rateliff & The Night Sweats – South of Here The Heavy Heavy – One of a Kind (Sept 6) Love – Forever Changes (1967) Jack White – No Name The Sheepdogs – Darlin' Baby (Single) Aerosmith – Permanent VacationWhat do you think of Pet Sounds? Do you think it's an all-time classic album? Let us know on our website, albumnerds.com or email us, podcast@albumnerds.com.Listen to more episodes and suggest topics for the Wheel of Musical Discovery on albumnerds.com. Follow us on Instagram & Facebook.Thanks for listening!
What better way to put a bow on the Summer of Don then to talk about one of his favorite records – The Beach Boy's landmark album Pet Sounds. Join us as we try to decipher Brian Wilson's genius and discuss the record's significance today. The Beach Boys – Pet Sounds Jpegmafia – I Lay […]
In this lengthily-titled episode, Lisa and Sean discuss not just songs that are signposts for the beloved Pet Sounds album, but also songs that theoretically could be Pet Sounds aftershocks. Recorded June 22, 2024 SHOW NOTES
Hour 1 Boomer & Gio are out so you get one more day of Jerry with Joe Benigno. The Mets lost to the Rockies, a team 30 games under .500. Joe just wants to get to Monday night in San Francisco when the Jets play the Niners. Jerry said he just doesn't know what the Mets are. Maybe they are just a .500 team. Peter Schwartz is in for his first update of the day and starts with the sounds of the Mets losing to the Rockies. Peter explains how everyone in his house except him is a Mets fan. Mets pitcher Luis Severino talked about his rough night in Colorado. The White Sox finally won a game after losing 21 straight. The Knicks made Jalen Brunson their 36th captain in team history. Joe can't believe they've had 36 captains. In the final segment of the hour, Joe has memories of Michael Jackson and can the Mets get to 88 wins? Astros pitcher Framber Valdez lost a no-hitter with 2 outs in the ninth. Hour 2 Joe B explains the Pina Colada song and why he hates it. We also talked about some of the terrible introductory press conferences for coaches and managers. Joe thinks if Aaron Rodgers plays in the preseason that he will get hurt, because that's what happens to the Jets. Peter returns for an update and starts with the sounds of the Mets losing to the Rockies. We also talked a lot about dating apps and blind dates. The Giants and Lions threw punches again at their combined practice yesterday. In the final segment of the hour, we talked about the Beach Boys album, Pet Sounds. Hour 3 A caller wonders if it's worth it to go to Jets camp. Joe wonders if the Jets like him because he tells it like it is. A caller wanted Joe's opinion of when Boomer came to the Jets. Joe B wonders why Tony Romo is not in the Cowboys Ring of Honor. Peter returns for an update and starts with the sounds of the Mets losing to the Rockies. Former MLB player and MLB executive Billy Bean passed away. Chris Russo thought it was the former GM of the A's. Joe B has a story of Jerry Recco booking Ron Artest's father instead of Ron Artest. In the final segment of the hour, Pat Boyle pronounces ‘imbecile' weird. Jerry has a list of words he has a problem pronouncing, like ‘epitome'. Hour 4 We somehow ended up talking about Plaxico Burress shooting himself in the leg by accident and we played all the song parodies Al sang that the listeners wrote. Peter returns for an update but first we talked about some of the worst Jets losses of all time. The Mets lost to the lowly Rockies and the White Sox finally won a game after losing 21 straight. Jalen Brunson has been named the Knicks 36th captain in franchise history. The only one Joe B remembers is Willis Reed. Rob Saleh talked about fighting in practice. The Moment of The Day involves Joe B explaining the Pina Colada song by Rupert Holmes. In the final segment of the show, Jerry asks Joe B for some surprise teams for the NFL this season.
Joe B explains the Pina Colada song and why he hates it. We also talked about some of the terrible introductory press conferences for coaches and managers. Joe thinks if Aaron Rodgers plays in the preseason that he will get hurt, because that's what happens to the Jets. Peter returns for an update and starts with the sounds of the Mets losing to the Rockies. We also talked a lot about dating apps and blind dates. The Giants and Lions threw punches again at their combined practice yesterday. In the final segment of the hour, we talked about the Beach Boys album, Pet Sounds.
Jeremy Clark of Tracer Heights was in the house for Episode No. 128, and dang it if it isn't always refreshing to chat with a fellow Phishhead.Trust me: I'm not trying to pigeonhole Jeremy or say that that's all there is to say about him. There's a ton more. Rare is the opportunity, though.Anyway...Jeremy's a son and a brother and a bandmate and one heck of a sharp dude; I really enjoyed getting to know him a little bit. We talked a fair amount about Tracer Heights, what they're all about, and what his role as the bassist looks like. We also talked about a few of Jeremy's favorite albums. Those were these:Pet Sounds (1966), The Beach BoysNine Inch Nails' Broken (1992)Mellon Collie & the Infinite Sadness (1995), The Smashing PumpkinsThe Flaming Lips' The Soft Bulletin (1999)Person Pitch (2007), Panda BearSo, please check out our conversation. These chats are almost always awesome; this one was no exception. And please check out Tracer Heights. Find out more about them at tracerheights.com, on Instagram, Facebook, YouTube, and Bandcamp. They're rock, blues, and bluegrass with the spirit of psychedelic improvisational music, and they're gigging often here in K.C.copyright disclaimer: I do not own the rights to the audio samples contained within this episode. They are cuts from a track called, "Grand Funk," by Jackie Mittoo from his 1971 effort, Wishbone (c/o Light in the Attic Records).
Thank you for listening to our Beach Boys Pet Sounds episode. We veered off a bit talking about Before Midnight in the middle there and then some big news broke. See if you can pinpoint exactly when that happened. Slap City picks: "Color Your Night" by Lotus Juice & Azumi Takahashi, "Acolyte" by Slaughter Beach, Dog. Listen to our playlist here Join us in 2 weeks for our 150th episode, when we'll discuss American Football (American Football) 1999 [American Football]
Join Scott Kummer, Josh Hohbein, Jack Wagner, Brian Frain and Andrew Robot Dinosaur for a discussion of The Beach Boys: Pet Sounds and Coldplay: A Rush of Blood To The Head It's never too late to fill out the poll. PLEASE!! The data is interesting to us: https://docs.google.com/forms/d/e/1FAIpQLSdGUMbkK9D9BkqWQzS1n17kzluWI04Sf-DIqp36IIJyuEgN2g/viewform All the other shows and forms can also be filled out on our website: https://sites.google.com/view/ivegotthatonvinyl/the-library?fbclid=IwAR2QuuIpaGoTp66vcFw62iTAtIAJ4HNnnfBBV67aGOzJ341o-5cZeoyizMA_aem_AZsBkXUU1TsysN9eoDxGf7eq-Gnqfd13ewopT432NjM_TFLOuhb6PwRhHtRYlfUPwrsijER2aI1M3OZf4KRfzxGi JoIn the "I've Got That On Vinyl" Facebook Group: https://www.facebook.com/groups/684186180585840 On Twitter: @IGTOVPodcast On Instagram: https://www.instagram.com/igtovpodcast/ Or email us anytime at IGTOVpod@gmail.com Intro and Outtro music by MIshka Shubaly: http://www.mishkashubaly.com
Jordan Raycine (Needle Drops) and Sam Ratner join Nick to discuss the new Disney+ documentary The Beach Boys (2024). The film covers the career of the iconic American band and we have plenty of thoughts on this one. With July 4th happening this week, there isn't a more perfect time to discuss this film!Send us a Text Message.
Once more unto the breach, dear friends, we have become teens again. This week on Funpoint!, we're talking about Olivia Rodrigo's GUTS! Join us as we discover new magic tricks, new away messages, and new DJs. Slap City picks: "Christmas Lights" by Paul Baribeau, "Otaku Hot Girl" by Megan Thee Stallion. Listen to our playlist here Join us in 2 weeks when we'll discuss our next pick, The Beach Boys' Pet Sounds!
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The Jokermen are joined by renowned author and certified Beach Boys head Michael Chabon to discuss the greatest record ever made. Side B coming later this week on Patreon // SUBSCRIBE NOW
The Richard Syrett Show, May 15th, 2024 HOW NATIONS ESCAPE POVERTY The miraculous transformation of two seemingly disparate nations —Poland and Vietnam— from socialist sinkholes of misery into vibrant, prosperous, opportunity-rich economies https://nations-escape-poverty.com Ranier Zitelman, German historian sociologist, multiple best-selling author whose books include: Hitler's National Socialism, The Power of Capitalism and In Defense of Capitalism.. His latest book is How Nations Escape Poverty. THE CULT OF CLIMATE CHANGE Twenty-one years into Australia's official permanent drought, drought is at an historical low. The press says Arizona has become too hot for people to live. Meanwhile...it is still snowing on May 11 and people are still skiing. Tony Heller, Founder of Real Climate Science dot com We should follow New Zealand on housing and free up more land for growth https://financialpost.com/opinion/canada-new-zealand-housing-free-up-land Wendell Cox – Senior Fellow with the Frontier Centre for Public Policy with expertise in housing affordability and municipal Policy https://fcpp.org/ OPEN LINES Mirrored image of King Charles' new portrait 'reveals face of Baphomet' https://www.wnd.com/2024/05/creepy-mirrored-image-king-charles-new-portrait-reveals-baphomet-face/ THIS WEEK IN ROCK HISTORY May 13th In 1967, The Monkees' second album, More of The Monkees, hit No.1 on the UK chart. Interestingly, there were only four albums that reached the top spot that year: The Sound of Music soundtrack, which spent 17 weeks at No.1, The Beatles' Sgt. Pepper's Lonely Hearts Club Band for 25 weeks, and The Monkees' first and second albums. May 13th In 1967, The Supremes scored their tenth No.1 single in the US with “The Happening,” the theme song to the 1967 film of the same name. It was the final single under the name “The Supremes,” as the group changed their name to “Diana Ross & The Supremes” before their next release. May 14th In 1988, Led Zeppelin reunited for Atlantic Records' 40th-anniversary party at Madison Square Garden, appearing with drummer Jason Bonham, who stood in for his late father, John Bonham. Their second reunion since splitting, the band's performance was disorganized and tense, as Jimmy Page and Robert Plant had argued about playing “Stairway to Heaven” prior to performing. Page described the appearance as “one big disappointment” and Plant agreed, noting that “the gig was foul.” Foreigner, Genesis, Ben E. King, and Wilson Pickett were among the other acts taking the stage. May 16th On this day in music, May 16, 1966, The Beach Boys released their 11th studio album, Pet Sounds. Written, produced, and arranged primarily by Brian Wilson, the album was revolutionary for a variety of reasons – including its broad use of instrumentation (including a synthesizer, theremin, bike bells, and even soda cans), as well as Wilson's ambitious production techniques, which found him turning the studio into an instrument itself. Featuring hits like “Wouldn't It Be Nice” and “God Only Knows,” the album was transformative within the music industry and within popular culture, influencing countless producers, engineers, songwriters, and musicians. Today, it is considered to be among one of the greatest albums of all time, while it was added to the National Recording Registry in 2004. Jeremiah Tittle, Co-Host of “The 500 with Josh Adam Myers” Podcast, CEO/Founder of Next Chapter Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Chris BendtThe Beach Boys' “God Only Knows" from the 1966 album "Pet Sounds" released on Capital. Written by Brian Wilson and Tony Asher and produced by Brian Wilson.Personel:Carl Wilson – lead vocals, twelve-string electric guitarBruce Johnston – backing vocalsBrian Wilson – backing vocalsOther Personel:Terry Melcher – tambourineThe Wrecking Crew - session musiciansThe Sid Sharp Strings - string sectionCover:Performed by Josh Bond, Neal Marsh, and Chris BendtIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:The Beatles "Getting Better"
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Chris BendtThe Beach Boys' “God Only Knows" from the 1966 album "Pet Sounds" released on Capital. Written by Brian Wilson and Tony Asher and produced by Brian Wilson.Personel:Carl Wilson – lead vocals, twelve-string electric guitarBruce Johnston – backing vocalsBrian Wilson – backing vocalsOther Personel:Terry Melcher – tambourineThe Wrecking Crew - session musiciansThe Sid Sharp Strings - string sectionCover:Performed by Josh Bond, Neal Marsh, and Chris BendtIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Jerry Lee LewisMatthew McConaughyDazed and ConfusedFor the Kings “Hellbound”Bapa Bendt “Songs for Smith”Whiskey BendtBad Bad WolfThe Beach Boys “Surfin' Safari”The Beach Boys “Kokomo”John StamosFull HouseThe Beach Boys “Good Vibrations”The Beach Boys “Sloop John B”The Beach Boys “Wouldn't It Be Nice”The Beatles “Rubber Soul”The Lovin' Spoonful “You Didn't Have To Be So Nice”The Beatles “Sgt Peppers Lonely Hearts Club Band”Edward Sharpe and the Magnetic Zeroes “Home”Patti SMith “Because the Night”Paul McCartneyBachGrizzley BearTame ImpalaBeckMGMTSpoonDavid BowieGlen CampbellNeil DiamondElton JohnBen KwellerLike a VersionPentatonix
“Close my eyes, she's somehow closer now / Softly smile, I know she must be kind / When I look in her eyes / She goes with me to a blossom world” The lyrics to the iconic Beach Boys song “Good Vibrations,” penned in part by Mike Love, are likely about a woman from long ago. But they could just as easily be about the flavors and sensations from his brand new rum, Club Kokomo Spirits. We had Love in-house along with his children who work for the spirits company to chat all things San Diego, award-winning rum, and good vibes on this week's Happy Half Hour. Also joining us was Geoff Longenecker of Seven Caves, the brand's distiller, who was shaking up mojitos for us in real-time. In case you aren't already aware, he's one of the preeminent spirits distillers in San Diego. “It's pretty damn good, isn't it?” Love whispered loudly to me, leaning in as he sipped. Indeed. Both Love and The Beach Boys have a storied history in San Diego. They shot the Pet Sounds album cover at the San Diego Zoo. They played countless concerts at the Rady's Shell, Del Mar Fairgrounds, and what was formerly Jack Murphy Stadium; Mike Love used to live in Rancho Santa Fe (where his daughter went to Cathedral Catholic); and, of course, the fact that it's distilled right here. Love's aspirations started years ago when he was enjoying a “perfect” mojito in New York with his wife, Jacquelyne, while humming the chorus of his co-authored hit song, “Kokomo.” His penchant for wordplay took over as he uttered the word “Kokomojito,” and ever since, Mike's dream has been to share the spirit of Kokomo with the world, he says. Currently, Club Kokomo Spirits makes award-winning rum and gin-based canned cocktails and a line of bottled rums. The company prides itself on using high-quality ingredients, including natural sugars and flavors, like a unique blend of demerara cane sugar rum and traditional Jamaican pot still rum. “Aruba, Jamaica, ooh, I wanna take ya / Bermuda, Bahama, come on pretty mama / Key Largo, Montego / Baby, why don't we go? / Jamaica…” Again, the song is about something else, right? Or…? Love says, “Kokomo is a state of mind.” He smiles and takes a sip, and grins once again.
Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. 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/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are -- our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over. If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability. The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie. Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th
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