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Hosted by Pete Anderson
6 episodes with Pete Anderson
3 episodes with Pete Anderson
6 episodes with Pete Anderson
4 episodes with Pete Anderson
6 episodes with Pete Anderson
5 episodes with Pete Anderson
3 episodes with Pete Anderson
3 episodes with Pete Anderson
Send us a textWelcome to The Helicopter Podcast, brought to you by Vertical HeliCASTS!In this electrifying episode, host Halsey Schider brings The Helicopter Podcast to the buzzing floor of Verticon 2025, sitting down with Pete Anderson, senior manager of helicopter operations at Pacific Gas and Electric Company (PG&E). As California's biggest utility—powering one in 20 Americans—PG&E leans on its aviation muscle, and Pete—with 28 years on the job—has lived it all. From lineman days on high-voltage lines to running a top-tier helicopter outfit, he shares a charged view of keeping the grid humming from above.Pete dives into PG&E's daring missions: Crews in Faraday suits tackling live 500kV lines mid-flight, helicopters hauling towers and concrete, and human external cargo ops slinging linemen for over 14,000 hours a year. With Black Hawks, a 50-year tie to PJ Helicopters, and a peak of 75 ships in a day, the scale is stunning. He highlights picking versatile Bell 407s and seasoned pilots with laser focus, plus LiDAR scans to dodge wildfire risks. Pete also reflects on safety's evolution—rigorous training, linemen in crew resource management—and nods to drones stepping up for new tasks.Join Halsey and Pete live from Verticon for a jolt of real-world wisdom on powering California with helicopters and beyond!Thank you to our sponsors Vertical Aviation International, Enstrom Helicopter Corporation and Hillsboro Heli Academy.
In this episode of Behind The Mic, we checked back in with Pete Anderson, frontman of Beach For Tiger. Pete also plays guitar and bass for several other artists, including friends of Vent Rayowa, Isla Rico and DROZ! We first checked in with Pete in 2022 and since then we have also checked in with his brother Mick, who plays in the band. Since the end of the Covid-19 pandemic, Pete has worked hard to get BFT out gigging again and gain momentum in a completely new music landscape. He also successfully auditioned as a guitarist for an artist called Skin Shape who was about to embark on a US tour at time of recording and could be a big turning point in Pete's career. In this episode we have an update on BFT, playing in Isla Rico's JCIL show way back in 2022, the new music landscape post-Covid and that potential ‘big break' with Skin Shape. We also discuss the updates around Rayowa and their decision to be fronted by guitarist Reece Baker going forward, with Pete no longer playing in the band, the importance of staying grounded as an artist on the circuit and his own mental health challenges in coming out of Covid-19 and finding his feet again. As always, #itsokaytovent Listen to Beach For Tiger on streaming platforms below: Spotify: open.spotify.com/artist/1QVfnmiJu…d0HQ&dl_branch=1 You can follow Beach For Tiger on social media below: Instagram: www.instagram.com/beachfortiger/?hl=en Twitter: twitter.com/BeachForTiger You can follow Pete on social media below: Instagram: www.instagram.com/peterandersonbft/?hl=en Support Us: Patreon: www.patreon.com/venthelpuk GoFundMe: www.gofundme.com/f/help-vent-supp…ir-mental-health Merchandise: www.redbubble.com/people/VentUK/shop Music: @patawawa - Strange: www.youtube.com/watch?v=d70wfeJSEvk
George Ducas is back with a new album, but a decidedly elevated sound thanks to him luring legendary Bakersfield sound producer Pete Anderson back to the country studio. He sat in with Roots Music Rambler this week to talk to Frank and Falls about the new album, the day-to-day of being a Nashville songwriter and a lot more. Ducas even made a public promise to try and get Anderson to come on the show! (We're giddy over this!) As if that weren't enough, Ducas also played the first song he ever wrote (at age 11) during the recording, which was more than a treat, and just the second “live” performance during a recording of Roots Music Rambler. Ducas's new album is called Long Way From Home and Anderson, long-time producer and guitarist for Dwight Yoakam, is very high on the album and his return to producing in the country genre. This was one of our most fun conversations. Ducas really is a great guy and brilliant songwriter. You're going to enjoy this episode. The hosts also offer up their picks for new music for you to discover this week in the Pickin' the Grinnin' segment of the show. Don't forget you can now show your support of the show with Roots Music Rambler's new merch, now available at rootsmusicrambler.com/store. Authentic t-shirts, hats and stickers are now available. Buckle up for The Hoe-Down and the Throw-Down! It's a new episode of Roots Music Rambler. Notes and links: Jason's picture of the autograph find from The Gorge Jason's pics and vids from The Gorge show Jason and Shane Gillis George Ducas online George Ducas on Spotify Long Way from Home on Spotify Pete Anderson online Ducas's 1994 Top 10 hit “Lipstick Promises” The Vandoliers on Spotify Frank's picture with the Drive by Truckers at the Vandoliers show The Roots Music Rambler Store Roots Music Rambler on Instagram Roots Music Rambler on TikTok Roots Music Rambler on Facebook Jason Falls on Instagram Francesca Folinazzo on Instagram Pickin' the Grinnin' Recommendations Kaitlin Butts on Spotify Cassandra Lewis on Spotify And be sure to get your MuskOx premium flannel shirts just in time for fall. Use the code RAMBLER on checkout for a discount! - https://gomuskox.com/rambler Subscribe to Roots Music Rambler on Spotify, Apple Podcasts, Google Podcasts, GoodPods or wherever you get your podcasts. Theme Music: Sheepskin & Beeswax by Genticorum Learn more about your ad choices. Visit megaphone.fm/adchoices
Focusing on the future and creating the tools that help produce high-quality bulls for the beef industry – that's the message from the cattle feeding segment back to Angus breeders in this episode. A feeder's top priorities are cattle that stay healthy, get big, marble well and use resources efficiently, and if cattlemen send those kind of raw materials, this episode's guests pledge to make the most of them. If today's cattle are “high-performance athletes,” hear directly from those who are the final step in making them winners.HOSTS: Miranda Reiman and Mark McCullyGUESTS:Tom Fanning, general manager for Pratt Feeders Group, oversees the four yards that make up the feeding company: Buffalo (Okla.) Feeders, Ashland (Kan.) Feeders, Ford (Kan.) Feeders and Pratt (Kan.) Feeders. Tom earned an agricultural economics degree from Oklahoma State University in 1987 and served as an Infantry Captain in the U.S. Army from 1982 to 1992. He completed his master's in management at Troy State University in 1992. From 1992 to 2001, Tom was employed by Cargill, where he managed cattle feeding operations across the Texas Panhandle. Then he spent 22 years as manager of Buffalo Feeders, before assuming his current role. Throughout his career, Tom has held various leadership positions in cattlemen's organizations at local, state and national levels, including serving as chairman of the Oklahoma Beef Council. Under his leadership, Buffalo Feeders garnered numerous accolades, including the 2009 Certified Angus Beef Feedyard of the Year, the 2019 Beef Quality Assurance Feedyard of the Year and the 2023 Texas Cattle Feeders Association Feedyard Excellence in BQA.Pete Anderson is director of research for Midwest PMS, and directs research all their research activities, provides technical support to nutritionists and clients, and oversees the company's performance records analysis program. He also has quality assurance, feed safety and regulatory responsibilities for the firm's production facilities. In addition, Anderson leads the company's initiative in business and operations consulting. He provides strategic planning, succession planning and management and leadership education to clients, and coordinates operations consulting efforts for the company. He applies scientific principles to solve business problems, based on 25 years of experience as a senior business executive. Pete received his bachelor's in animal science from Kansas State University in 1983 and a master's and doctorate from Michigan State University in 1987 and 1989, respectively. Pete has never made a hole in one, but he has climbed several fourteeners and has his own barbecue website (petesmeats.com). Pete and his wife, Denise, reside in Loveland, Colo., and have three adult children. SPONSOR NOTE: This episode is sponsored by Ingram Angus LLC.The entire Ingram team invites you to their annual production sale, Friday, Nov. 8, on the farm at Pulaski, Tenn., to see how they've harnessed the power of the Angus cow to make the herd bull your operation needs. Visit IngramAngus.com for more information on some of the breed's most proven cow families, and they'll see you Nov. 8.Don't miss news in the Angus breed. Visit www.AngusJournal.net and subscribe to the AJ Daily e-newsletter and our monthly magazine, the Angus Journal.
Welcome to the LEGENDS: Podcast by All Day Vinyl. In this episode, our host Scott Dudelson sits down with the Grammy-winning producer, guitarist, and bandleader Pete Anderson. We dive deep into some of Anderson's most impactful productions including his work with Dwight Yoakam, Roy Orbison, Meat Puppets and an incredible story of playing in a band with legendary session drummer Jim Gordon weeks before Gordon tragically killed his mother in 1983. Pete candidly shares tales from his Detroit upbringing where he first discovered his passion for Jazz, Motown R&B, and blues. He talks with enthusiasm about tour experiences, collaborations, and his path from a young Elvis fan to a Grammys winning producer. Pete and go in depth about his career and life with a particular focus on Anderson's early days, playing with Jim Gordon in the Blue Monkey's, meeting Dwight Yoakam and recording iconic albums with Dwight, producing KD Lang, Roy Orbison, Meat Puppets, Buck Owens, Thelonious Monster and others. Anderson shares incredible stories leading up the current day where he shares info about a new record by George Ducas he just produced, as well as a new book that reveals his producing technique with specific tips. If you like this episode please rate, follow and subscribe.
110 - Eugene Edwards (Dwight Yoakam) In episode 110 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with Eugene Edwards (Dwight Yoakam's guitarist). In their conversation they cover tour logistics for the Dwight Yoakam tour. They dive deep into gear amps, preamps, guitars and pedals. They discuss trying to recreate the classic guitar tones of the iconic albums. They discuss Eugene's relationships with the previous guitarists in the band: Pete Anderson, Eddie Perez (episode 65) and Keith Gattis. Eugene replaced Eddie in two bands. Eugene takes through his childhood in Yuma Arizona and tells us about his first concert, Bruce Springsteen and learning guitar from the Alfred method. They discuss how his high school country band led him to Los Angeles a city Eugene loves. They talk about other bands Eugene has played with including an Elvis impersonator (Scot Bruce), Sha Na Na and Eugene's own band. They discuss the intricacies of Scotty Moore's playing. Eugene also talks about the Jaime suits he wears and playing front guitar legends. . Eugene has a strong social media presence but apart from that you can find out more about him at the Dwight Yoakam website: dwightyoakam.com . Please subscribe, like, comment, share and review this podcast! . #VintageGuitarmagazine #EugeneEdwards #DwightYoakam #ShaNaNa #VintageGuitar #guitar #Guitar #EugeneEdwardsBand #ScotBruceElvis #theDeadlies #guitarfinds #haveguitarwilltravelpodcast #guitarcollector #Travelwithguitars #haveguitarwilltravel #hgwt #HGWT . . . . Please like, comment, and share this podcast! Download Link
In this episode, Board Member Kathy Lindstrom and Veterans Club member Pete Anderson are here to talk about this year's Toys for Tots drive. Tune in to learn a little bit about the history of the drive and how you can help this year. Transcription:
"Ted Fozzy is a furry? No - a mascot / all-star punter / massage therapist of the reigning championship football team: The BEARS ( lets go Bears! ). He's engaged to the rival team's leading lady Treeyana. Will the two rival teams BARE their love for each other? Or are we in for a BEAR of a time? I can't BARE to watch. Are we BARE of bear puns? BARELY"CreditHost - CJ RhoneGuest - Pete AndersonProducer - NuqadyEmail us wheel suggestions at definitelynotgoodpodcast@gmail.comFollow Us on social media:instagram.com/DNGPodFacebook.com/DNGPodTiktok.com/@DNGPodPlease give us a 5 star rating to help keep the show going. Thanks!
It's time once again for the Treasure Coast Wine and Ale Trail Festival! This annual festival celebrates everything about the growing craft beer, wine, and now distilleries in Martin, St. Lucie, and Indian River counties. Last year, we visited the festival and spoke to representatives from all three counties. This year we are back and speaking to the breweries themselves! We spoke to Derek Gerry and Pat Kirchner from Mash Monkeys in Indian River County, Dwayne Buchholz and Chef Jesse from Side Door brewing in St. Lucie County, and Etienne Bourgeois, owner of Frasier Creek Brewery and Distillery in Martin County. But first, Producer Steve took the audio equipment to Denver for the Great American Beer Festival! He's a brewer now, and headed to the event with his brewery but also chatted with some others along the way! We have audio from podcast-favorite (and Treasure Coast brewer) Pete Anderson from Pareidolia Brewing, Ryan Freeman from Dade City Brew House, and Steve Dornblaser from NOBO Brewing. Listen in... Find us on Social Media @FloridaBeerBlog on Instagram and Twitter, @FLBeerBlog on Facebook, and visit us on the web at FloridaBeerBlog.com. Please subscribe, like us, and give us a healthy 5-star review, every little bit helps! The Florida Beer Podcast is a proud member of the Florida Podcast Network, an exciting collection of podcasts highlighting the best of the Sunshine State. Visit us today at FloridaPodcastNetwork.com Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson, Pareidolia Brewing Guest: Ryan Freeman, Dade City Brew House Guest: Steve Dornblaser, NOBO Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
It's time once again for the Treasure Coast Wine and Ale Trail Festival! This annual festival celebrates everything about the growing craft beer, wine, and now distilleries in Martin, St. Lucie, and Indian River counties. Last year, we visited the festival and spoke to representatives from all three counties. This year we are back and speaking to the breweries themselves! We spoke to Derek Gerry and Pat Kirchner from Mash Monkeys in Indian River County, Dwayne Buchholz and Chef Jesse from Side Door brewing in St. Lucie County, and Etienne Bourgeois, owner of Frasier Creek Brewery and Distillery in Martin County. But first, Producer Steve took the audio equipment to Denver for the Great American Beer Festival! He's a brewer now, and headed to the event with his brewery but also chatted with some others along the way! We have audio from podcast-favorite (and Treasure Coast brewer) Pete Anderson from Pareidolia Brewing, Ryan Freeman from Dade City Brew House, and Steve Dornblaser from NOBO Brewing. Listen in... Find us on Social Media @FloridaBeerBlog on Instagram and Twitter, @FLBeerBlog on Facebook, and visit us on the web at FloridaBeerBlog.com. Please subscribe, like us, and give us a healthy 5-star review, every little bit helps! The Florida Beer Podcast is a proud member of the Florida Podcast Network, an exciting collection of podcasts highlighting the best of the Sunshine State. Visit us today at FloridaPodcastNetwork.com Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson, Pareidolia Brewing Guest: Ryan Freeman, Dade City Brew House Guest: Steve Dornblaser, NOBO Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
In this episode of Dear Art Producer, Heather Elder, is joined by Robyn Swierk, the Senior Creative Program Manager, and Pete Anderson, the Global Video Lead, both from FreshWorks During the discussion, Robyn and Pete share their roles at FreshWorks, their workflow, how they engage with artists for projects, as well as tips for how artists can effectively pitch their work. They also reveal their predictions for the remainder of 2023 and share their dream jobs. Listen in for valuable insights into the creative process at FreshWorks. Stay tuned for more episodes of Dear Art Producer, bringing you the inside scoop on the enthralling world of creative production. In an industry where the rules are always changing, it's helpful to hear from those on the front lines. Heather Elder is the visionary behind NotesFromARepsJournal.com; visit HeatherElder.com for industry updates, stunning photography and video, and the artists behind the work. More about our guest: Find Robyn on LinkedIn: https://www.linkedin.com/in/robynswierk/ Find Pete on LinkedIn: https://www.linkedin.com/in/pete-anderson-a689106/ More about your host: Heather Elder's Bio Heather Elder's Blog Heather Elder on Instagram Heather Elder on Twitter Heather Elder on LinkedIn Heather Elder on Facebook
To Support the Channel:Patreon https://www.patreon.com/AskZacTip jar: https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch - https://my-store-be0243.creator-spring.com/In 1986, Warner/Reprise took an indie-released EP, added 4 newly recorded tunes, and launched Dwight Yoakam into the stratosphere with the revamped version of Guitars Cadillacs Etc, Etc. The album's first single, a cover of Johnny Horton's "Honky Tonk Man," was a clear message that this was a roots-influenced album, yet the energy and production made it also contemporary. Producer/Guitarist Pete Anderson took Dwight's tunes and added a modern take on the Bakersfield sound, that was the perfect nod to the past, but without becoming a pastiche of California Country styles of the 1960s. Although Yoakam had 21 great original tunes in the bag, he and Pete agreed to mix 7 of the backlog of original tunes, along with 3 revved-up covers to fill out the album. This winning formula would also serve as the template for his next two releases, Hillbilly Deluxe, and Buenas Noches from a Lonely Room. Besides a history of the album, we will also look at some of Pete's parts, and the gear he used for the album.Gear used:2023 Headstrong Lil' King with 12" Eminence GA-SC64 speakerhttps://headstrongamps.com/lil-king-amp1953 Telecaster built by my old college buddy, B. Paisley, using a mix of old and new parts. Ron Ellis 52T and Standard Plus pickupshttps://www.ronellispickups.com/Strings: D'Addario NYXL 95-44https://amzn.to/41rnl0VPick:Pick Boy Small Jazz, Tortoise Shell, 1.00mmEffects: Amp reverb#askzac #peteanderson #dwightyoakamSupport the show
To Support the Channel:Patreon https://www.patreon.com/AskZacTip jar: https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch - https://my-store-be0243.creator-spring.com/I recently got a call from the Chet Atkins Appreciation Society, asking me to speak at their annual event here in Nashville. Without hesitation, I agreed and was pleased to also get asked by Chet's grand-niece, Meagan Taylor Anderson, to perform with her at one of the evening concerts. Today you get the heart of my speech from the event, and a book nook segment on Pete Anderson's new release, "How To Produce A Record: A Players Philosophy For Making A Great Recording."Pete Anderson's book:How To Produce A Record: A Players Philosophy For Making A Great Recordinghttps://amzn.to/46ZJfvqChet Societyhttps://www.chetsociety.com/The French Family Band on the Grand Ole Opryhttps://www.youtube.com/watch?v=OCpH_wXWHw4#askzac #zacchilds #chetatkinsSupport the show
Making a Scene Presents an Interview with Greg SoverGreg Sover with Billy CoxWhile Greg Sover's friends in his Philadelphia neighborhood, where he grew up, were listening to local rappers he was immersed in classic rock, country and the blues ever since he first picked up a guitar at the age of five.“From the beginning, it's been the greats that have intrigued me,” says Sover, naming Jimi Hendrix, Stevie Ray Vaughan, Eric Clapton, Jeff Beck, Duane Allman, Dwight Yoakam guitarist Pete Anderson and, of course, all three Kings – B.B., Freddie and Albert as early influences. “Hearing those first few notes of ‘Purple Haze' changed my life.”
Enter promo code "ASKZAC30" to save 30%Truefire https://prf.hn/l/LbY3nGLTo Support the Channel:Patreon https://www.patreon.com/AskZacTip jar: https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch - www.askzac.comBetween my work with the Truetone Lounge and Vintage Guitar Magazine, I have interviewed many award-winning musicians with long and storied careers. It struck me recently that every one of them had a pivotal moment in their story where 3 important elements came together to launch their careers. These integral ingredients can be distilled down to hard work, risk-taking, and timing/luck. All 3 of these are incredibly important, and the house quickly falls if any one of these elements is absent. To illustrate, I share anecdotes from my interviews with John Jorgenson, Pete Anderson, and JD Simo showing how the elements of hard work, risk-taking, and luck played out in their careers.Gear Used:Baxendale Kay MandocelloPick:Blue Chip TPR 35Amp:2021 Fender Handwired 64 Princeton Reverb with a Jensen Neo 10-100 speaker.Effects:Boss Analogman mod TR-2, MXR Reverb #askzac #zacchildsSupport the show
We are back with Part 2 of our interview with Pete Anderson from Pareidolia Brewing. In this episode, we speak to Pete regarding his time with the Florida Brewers Guild working on helping to change some of Florida's laws to make things more equitable for Florida's craft brewers. Listen in... Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson, Pareidolia Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
We are back with Part 2 of our interview with Pete Anderson from Pareidolia Brewing. In this episode, we speak to Pete regarding his time with the Florida Brewers Guild working on helping to change some of Florida's laws to make things more equitable for Florida's craft brewers. Listen in... Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson, Pareidolia Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
Episode 249: One key reason that Dwight Yoakam exploded into country music consciousness in 1986 was the electric guitar and electrifying record production of his friend and bandmate Pete Anderson. Anderson moved from his native Detroit to Los Angeles and found himself in a powerful partnership that changed the sound of country and sold around 25 million records. After more than 15 years, Anderson pursued his own interests, including a bluesier side of his guitar and record production in his own studio, including key Americana stars. Now he's written a book compiling all he's learned and realized about record production, and that became the basis of a fascinating conversation.
Finally, Pete is on the show! If you've been listening to the Florida Beer podcast, you will have heard about Pete Anderson, Owner and Brewer at Pareidolia Brewing. We finally visited the brewery in Sebastian to hear from the man himself where all of his brewing magic happens. In Part 1, we spoke to Pete to learn more about the creation of Pareidolia Brewing, bringing craft beer to Sebastian, and finding the right space for a great brewery and tap room. Listen in... Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson, Pareidolia Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
Finally, Pete is on the show! If you've been listening to the Florida Beer podcast, you will have heard about Pete Anderson, Owner and Brewer at Pareidolia Brewing. We finally visited the brewery in Sebastian to hear from the man himself where all of his brewing magic happens. In Part 1, we spoke to Pete to learn more about the creation of Pareidolia Brewing, bringing craft beer to Sebastian, and finding the right space for a great brewery and tap room. Listen in... Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson, Pareidolia Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
To Support the Channel:Tip jar: https://paypal.me/AskZacOr check out my store at - www.askzac.comMy son told me, "Dad, you ought to do a video on your favorite Telecaster licks." So here are my 10 favorite Telecaster licks of all time.1. Cornell Dupree "Rainy Night in Georgia."2. Reggie Young "Memphis Soul Stew."3. James Burton "Suzy Q."4. Jesse Ed Davis "Six Days On The Road."5. Pete Anderson "Guitars Cadillacs."6. Bobby Womack "I'm In Love."7. Clarence White "You Ain't Goin' Nowhere."8. John Jorgenson "Highlander Boogie."9. Luther Perkins "Folsom Prison Blues."10. James Honeyman-Scott "Kid."Bonus lick11. Jimmy Olander "Meet In The Middle."Spotify playlist:https://open.spotify.com/playlist/1au...Gear for this video:1957 Fender Esquire with added neck pickup. Restoration and aging on the body by Dan "Danocaster" Strain.Strings: Gabriel Tenorio NíquelPuro Pure Nickel Strings 10-46Pick:Blue Chip TPR 35Amp:1965 Deluxe Reverb with Celestion Vintage 30 speaker, and bright cap clipped on the vibrato channel.Effects used:Amp Verb. #askzac #guitartech #telecasterSupport the show
Dwight Yoakam, Pete Anderson, and me.
Blue Rodeo, Jim Cuddy, Greg Keelor, Pete Anderson, and me.
Multi Platinum, Grammy-award winning producer-guitarist Pete Anderson is probably best known as Dwight Yoakam's guitarist from 1986 to 2003. During that time, the duo helped reshape the face of country music. Anderson's worked with a variety of artists, from Lucinda Williams and Michelle Shocked to the Meat Puppets and Roy Orbison. He's taken a lifetime of musical knowledge and experiences, and distilled it into a new book, How To Produce a Record: A Player's Philosophy For Making a Great Recording - out now from Jessee Lee Music.Anderson gives tips that can be applied whether you're in a large studio, or your bedroom.
To Support the Channel:Patreon https://www.patreon.com/AskZacTip jar: https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch - www.askzac.comCORRECTION - The "Stars On The Water" rhythm part was both Albert Lee and Hank DeVito. They played the same part but were panned hard left and right. Hank indicated he used his Esquire and a Vox AC30 on the track. DeVito is an esteemed steel player, guitarist, songwriter, and photographer. As a musician, he was an original member of Emmylou's Hot Band, Rodney Crowell's Cherry Bombs, and later performed with the Everly Brothers. As a songwriter, Hank wrote or co-wrote many well-known tunes including "Queen of Hearts," "Sweet Little Lisa," and "Small Town Saturday Night." His photography graces the cover of a number of albums, including Rosanne Cash's King's Record Shop. Also, "You're Still On My Mind" was written by Luke/Jeff Daniels in 1959 You asked for it, so here is my look at a smattering of electric country rhythm guitar styles. Here I cover some fun rhythm techniques I stole from James Burton, Albert Lee, Ray Flacke, Brad Paisley, and Pete Anderson.Spotify Playlisthttps://open.spotify.com/playlist/069...Gear for this video1967 Telecaster - stock except for steel compensated saddles, and the tone control is wired to the bridge pickup only.Strings: Ernie Ball 10,13,15,24,32,42Pick:Blue Chip TPR 35 RB Amp:1967 Deluxe Reverb amp with Celestion V30 speakerEffects used:Mirage compressor pedalBoss TR-2 Trem with AM modBoss DM-39v power via Truetone CS6 #askzac #guitartech #telecasterSupport the show
From being told he was "too small to play guitar", to leading one of the most popular musical acts on the planet, Pete Anderson has seen almost every angle of the music industry. Pete and I go over his career from the moment he started guitar, to working in music stores, to his approach in producing bands, touring the world, meeting Scotty Moore, his thoughts on his own creative process, and so much more. This is one of the coolest conversations I ever had, and fortunately I was able to record the whole thing! (And the Patreon bonus chat was absolutely incredible!) Check out all things Pete on his website http://peteanderson.com/ You can keep the lights on and get bonus episodes by going to Patreon. You can also help out with your gear buying habits by purchasing stuff from Tonemob.com/reverb Tonemob.com/sweetwater or grabbing your guitar/bass strings from Tonemob.com/stringjoy Release your music via DistroKid and save 30% by going to Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices
CORRECTION: Pete used 7 out of the 21 stockpiled Yoakam originals on each of the first 3 albums they released together. Pete Anderson turned Nashville on its ear with his playing and production on Dwight Yoakam's 1986 release, Guitars, Cadillacs, Etc., Etc. His use of a Tele and Fender Deluxe Reverb amp, instead of the Music City norm of a Strat going direct with heavy chorus, made Dwight's record stand-out, and radio and record buyers responded by quickly turning Yoakam into a bonafide star. In this AZ episode, I give some backstory on Anderson, show some of his licks, and how his work ethic and street smarts paid off for him. To Support the Channel, go to my store at - www.askzac.comSpotify Playlist for Pete:https://open.spotify.com/playlist/3Oz...Gear used in Video:2019 Danocaster Blackguard (1953 Telecaster Style) with Ron Ellis 52T (Bridge) and Julian Lage (Neck)https://danocaster.com/Strings: D'Addario NYXL 10,12,16, 24, 34, 44.Pick:Blue Chip TPR 35 RB Amp:1965 Deluxe Reverb amp with Celestion V30 speakerEffects used:TC PolytuneMirage compressor pedal9v power via Truetone CS6 https://amzn.to/38S9rZK #askzac #guitartech #telecasterSupport the show
It's that time of the year when the Rams go out, so we thought we'd go to one of the best in the business to pick his brains on teaser Rams and tipping. Pete Anderson is a Marlborough-based veterinarian who always wants to get to the bottom of any animal health problem. This has stood him in good stead when throwing off the green overalls and becoming an advisor for StockCare - a job that takes him around the country, usually in his plane, to help farmer clients get the best from their flock.See omnystudio.com/listener for privacy information.
Brian Poston grew up listening to country music but learning to play like Eddie Van Halen and Randy Rhoads. Despite those early forays into hard rock, shred, and metal, he found his way to the more traditional sounds of classic Country and Western Swing. A monster guitarist, Brian showcases his skills in his outstanding band, The Shootouts. We had a lot of fun talking about his guitars, his style, and how he found his calling in a traditional music. Hope you enjoy this episode as much as I did! Support the show at: https://www.patreon.com/40wattpodcast/Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind Brian and The Shootouts on:Instagram: https://www.instagram.com/shootoutsmusic/Spotify: https://spoti.fi/3zBqzmtInternet: https://www.shootoutsmusic.com/YouTube: https://www.youtube.com/@ShootoutsMusicFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Subscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts SpotifySupport the show
In this episode of Behind The Mic, we checked in with Dan and Reece from UK-based band Rayowa. We have already interviewed brothers Mick and Pete Anderson who play percussion and bass in the live band respectively but in this episode we chatted to Dan and Reece who front the band for our longest BTM episode yet! Dan, Reece and their younger brother Luke all started out in a previous band called Courts which built up its own dedicated following before that project ended. The three of them reflected on the sound they wanted to create going forward and put together a new project now known as Rayowa. In this episode we talk about their early music journey, transitioning from Courts to Rayowa, their proudest achievements in the band so far, battling music industry politics and work-life balance. For Dan and Reece's mental health, we discuss their experience of depression, substance abuse, grief and their journey into sobriety and healthy living today. As always, #itsokaytovent Listen to Rayowa on streaming platforms below: Spotify: https://open.spotify.com/artist/6awgjbEndbfu3IpwqKhIFo YouTube: https://www.youtube.com/@RayowaLife SoundCloud: https://soundcloud.com/rayowalife You can follow Rayowa on social media below: Instagram: https://www.instagram.com/rayowa/ Twitter: https://twitter.com/rayowalife Support Us: Patreon: www.patreon.com/venthelpuk GoFundMe: www.gofundme.com/f/help-vent-supp…ir-mental-health Merchandise: www.redbubble.com/people/VentUK/shop Music: Intro: Rayowa - Chance: https://www.youtube.com/watch?v=t6mOAO4vvWU Outro: Rayowa - Better Man: https://www.youtube.com/watch?v=2g8gveY6DjU TRIGGER WARNING; This podcast contains a deep discussion about grief and loss, which some listeners may find distressing or upsetting, so please listen with caution.
This week, our guest is writer and dresser extraordinaire, Pete Anderson. We discuss the menswear scene in Washington, D.C., precious clothing memories, buying records down the Jersey Shore, and more sacred knowledge.
If you didn't go to the Treasure Coast Wine and Ale Trail, you definitely missed one of the most chill, enjoyable, and fun beer festivals in Florida. You also missed a great celebration of three of the most relaxing and fantastic counties in the state: Martin, St. Lucie, and Indian River! That is where we are starting our podcast today, chatting with Ian Centrone from Discover Martin, Kirk Funnel from Visit Indian River, and Charlotte Bierley from Visit St. Lucie. I spoke with each of them to get a bit of flavor from their respective counties, understand the great breweries and other tourist destinations there are, and find a great place for a post-festival meal. From there, I welcomed back Pete Anderson to the podcast. He's the owner and brewer at Pareidolia Brewing in Sebastian, and a co-founder of the Treasure Coast Wine & Ale Trail itself. I spoke to Pete to get a history of the trail, the festival, and what the future looks like for craft on the Treasure Coast. Host: David Butler of the Florida Beer Blog Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Ian Centrone, Tourism Program Manager of Discover Martin Guest: Kirk Funnell, Director of Tourism and Marketing of Indian River County Guest: Charlotte Bireley, Director of Tourism and Marketing of St. Lucie Guest: Pete Anderson, Pareidolia Brewing/Treasure Coast Wine & Ale Trail Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit
If you didn't go to the Treasure Coast Wine and Ale Trail, you definitely missed one of the most chill, enjoyable, and fun beer festivals in Florida. You also missed a great celebration of three of the most relaxing and fantastic counties in the state: Martin, St. Lucie, and Indian River! That is where we are starting our podcast today, chatting with Ian Centrone from Discover Martin, Kirk Funnel from Visit Indian River, and Charlotte Bierley from Visit St. Lucie. I spoke with each of them to get a bit of flavor from their respective counties, understand the great breweries and other tourist destinations there are, and find a great place for a post-festival meal. From there, I welcomed back Pete Anderson to the podcast. He's the owner and brewer at Pareidolia Brewing in Sebastian, and a co-founder of the Treasure Coast Wine & Ale Trail itself. I spoke to Pete to get a history of the trail, the festival, and what the future looks like for craft on the Treasure Coast. Host: David Butler of the Florida Beer Blog Executive Producer: Jaime (“Jemmy”) Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Ian Centrone, Tourism Program Manager of Discover Martin Guest: Kirk Funnell, Director of Tourism and Marketing of Indian River County Guest: Charlotte Bireley, Director of Tourism and Marketing of St. Lucie Guest: Pete Anderson, Pareidolia Brewing/Treasure Coast Wine & Ale Trail Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel. ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes, Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them, hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"] As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.
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Barry and Abigail discuss How to Save a Life by The Fray and sample Mel's Gold Ale, 32958 Hazy IPA, Dubbeldolia, Slow Paddle Porter, and Voluntold Oatmeal Stout from Pareidolia Brewing Co. in Sebastian, Florida. Special thanks to Pete Anderson, Co-Owner and Head Brewer of Pareidolia Brewing Co., for sitting down with us to discuss the history of the brewery! Mel's Gold Ale is named for Mel Fisher, a world-famous American treasure-hunter. Mel Fisher's Treasure Museum is located just up the street from Pareidolia in Sebastian. Sales of Knee Deep in Peaches Smash Beer raised money for StacheStrong, an organization that supports brain cancer research. Knee Deep in Peaches was also a collaboration with Waycross, Georgia, band The Pine Box Dwellers. The band designed the beer's logo and can art. When Barry was recently in Asheville, North Carolina, he visited White Labs Brewing Co., who are known for brewing beers of nearly identical recipes, only altering the yeast, to produce noticeable differences in flavor and aroma. How to Save a Life was once certified as the best-selling digital album of all time at the time, beating the record previously held by Coldplay's X&Y. Abigail saw The Fray live at The Greek Theatre in Los Angeles, California, in July 2007. Slow Paddle Porter was modeled after Deschutes Brewery's Black Butte Porter. Up next… Conscious Party by Ziggy Marley and The Melody Makers Jingles are by our friend Pete Coe. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://anchor.fm/pops-on-hops-podcast/message
Listen again to our Sunday Sermons. This is Pete Anderson, a guest speaker from City on a Hill, looking at Acts 2: 1 - 13 from our 7pm Pentecost Celebration service on 5th June 2022.
Jack chats with good friend, guitarist/producer, Pete Anderson –who in partnership with Dwight Yoakam, sold millions of records, stacked up hit after hit and propelled Country Music into the mainstream of popular music. Pete tells how a punk DIY ethos took him on his very real rags to riches journey. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Luke24: 38-41 38 “Why are you frightened?” he asked. “Why are your hearts filled with doubt? 39 Look at my hands. Look at my feet. You can see that it's really me. Touch me and make sure that I am not a ghost, because ghosts don't have bodies, as you see that I do.” 40 As he spoke, he showed them his hands and his feet. 41 Still they stood there in disbelief, filled with joy and wonder. Then he asked them, “Do you have anything here to eat?”
It's "meet your regulator" day on Overdrive Radio -- there's plenty to gain, particularly for those of you in the audience who engage with regulatory processes, in getting to know, of a fashion, FMCSA Acting Administrator Robin Hutcheson. For this edition of the podcast, we'll hear Hutcheson speak at length to the notion of dwindling pride in trucking and investment in its restoration, plenty about her background, FMCSA's regulatory programs, and the agency's parking advocacy role, among other topics. It's all part of a talk she gave with reporters from trucking media to answer pre-submitted questions at the Mid-American Trucking Show last month. While there wasn't much in the way of hard news that emerged from the session, hear it in full today. Find a previously-published report from the session at this link: https://www.overdriveonline.com/regulations/article/15290156/fmcsas-new-boss-emphasizes-compensation-detention-issues Then, perhaps more importantly, we'll pick up where we left off in the last podcast from Overdrive's post-Partners in Business seminar discussion at MATS with a cross section of owners about business preparation and planning, about cost and revenue strategies, about income, difficulty and success with owner-operators Raeshawn Lucas and David Nihart, budding small fleet owner Pete Anderson, and others. If you missed Part 1 of that discussion, find it here: https://www.overdriveonline.com/overdrive-radio/podcast/15290751/why-do-truck-drivers-get-into-business-as-owneroperators Access more information about participating in the Truck Leasing Task Force Administrator Hutcheson discusses in the podcast via: https://www.overdriveonline.com/regulations/article/15290608/fmcsa-accepting-nominations-for-truck-leasing-task-force Overdrive's 2021 reporting on Florida DOT's parking-funding successes, also mentioned, you can find here: https://www.overdriveonline.com/channel-19/article/15064912/the-truck-parking-impact-of-jasons-law-after-nearly-a-decade
As Georgia-headquartered owner-operator Raeshawn Lucas has it, higher earning potential as an owner-operator is certainly a prime motivating factor for the decision to strike out on one's own as a business in trucking. Yet that's certainly not all when it comes bedrock goals. Respect, freedom of choice in so many aspects of how you do business... Truth is, owner-operators go into business for themselves for all sorts of reasons, and that was well evident in the discussion we had at the Mid-America Trucking Show with owner-operator Lucas, leased under a longtime friend and associate's authority; Landstar-leased David Nihart, who's worn a variety of trucking hats over a long career so far; and Pete Anderson of Georgetown, Texas, a vocational fleet manager with plans to move into over-the-road as a small fleet owner. That conversation followed Overdrive's Partners in Business seminar at MATS with ATBS Vice President Mike Hosted and Overdrive's own Gary Buchs, both of whom you'll also hear in today's Overdrive Radio episode, in addition to the three owners. If you missed the PIB session, find a full video of it here: https://www.overdriveonline.com/partners-in-business/video/15290282/record-owneroperator-income-could-be-longerterm-trucking-trend Sit in on the first part of a wide-ranging discussion for insights on: **The benefits and tradeoffs of filing taxes as an S Corp. **Why independents' quality-of-life goals can explain an outsize drop in miles for year 2021. **The value of a large leasing partner in a high-fuel-cost environment. **Fuel-purchasing strategy to make sure you're getting the best price (minus state taxes). And more. Part 2 of the conversation will follow in the next Overdrive Radio edition. If you haven't as yet, you can download the Partners in Business manual, coproduced with ATBS, via this link: https://register.overdriveonline.com/pib-manual/
Conversation with Sarah Shook about the evolution of sound with the Disarmers' third album Nightroamer, their road to sobriety, learning from Southerners about how to make a point in a gentle and indirect way, and more, including excerpts of their new songs produced by Pete Anderson.
In this weeks Osteobites episode Dr. Pete Anderson of Cleveland Clinic, together with OsteoWarriors Andrew, Kara, and Mia, will be asking and answering your questions about Osteosarcoma.
What happens with you're staying on the Space Coast, but you can't get an interview because everyone's at a beer festival? You go to that beer festival, too! This is Part 1 of our LIVE report from Rocky Water Brew Fest, coming from Eau Gallie Square in Melbourne--just a few blocks away from Intracoastal Brewing. This event features the best and brightest from the Space Coast craft beer scene, plus visitors from points beyond. It's a true brewers festival. No representatives or distributors here. Listen in as we speak to Pareidolia Brewing owner and brewer Pete Anderson, Jim Scortino from Scortino and Son Brewing Supplies, Ivanhoe Park Head Brewer Eric Van Wormer, Deviant Wolfe co-owner Matt Rolfe, and Bugnutty Brewing co-owner Jon Sheldon. Listen in... Host: David Butler of the Florida Beer Blog Executive Producer: Jaime ("Jemmy") Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson of Pareidolia Brewing Guest: Jim Scortino of Scortino and Son Brewery Supplies Guest: Eric Van Wormer of Ivanhoe Park Brewing Guest: Matt Rolfe of Deviant Wolfe Brewing Guest: Jon Sheldon of Bugnutty Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
What happens with you're staying on the Space Coast, but you can't get an interview because everyone's at a beer festival? You go to that beer festival, too! This is Part 1 of our LIVE report from Rocky Water Brew Fest, coming from Eau Gallie Square in Melbourne--just a few blocks away from Intracoastal Brewing. This event features the best and brightest from the Space Coast craft beer scene, plus visitors from points beyond. It's a true brewers festival. No representatives or distributors here. Listen in as we speak to Pareidolia Brewing owner and brewer Pete Anderson, Jim Scortino from Scortino and Son Brewing Supplies, Ivanhoe Park Head Brewer Eric Van Wormer, Deviant Wolfe co-owner Matt Rolfe, and Bugnutty Brewing co-owner Jon Sheldon. Listen in... Host: David Butler of the Florida Beer Blog Executive Producer: Jaime ("Jemmy") Legagneur, Chief Enthusiasm Officer Field Producer/Photographer: Steve Pekala Editor: Daniel Delgado Guest: Pete Anderson of Pareidolia Brewing Guest: Jim Scortino of Scortino and Son Brewery Supplies Guest: Eric Van Wormer of Ivanhoe Park Brewing Guest: Matt Rolfe of Deviant Wolfe Brewing Guest: Jon Sheldon of Bugnutty Brewing Equipment Sponsor: Mainline Marketing | Featured Product: Shure MV7 | Full MV7 Podcast Mic Bundle with Boom Arm and Headphones Interested in becoming FBP's next Title Sponsor? Contact FPN today! Support the Show on Patreon: Become a Patron! Opening Voice Over Courtesy of: Jeff Brozovich Follow Florida Beer Blog on Facebook, Twitter, and Instagram. Additional Support Provided by: Florida Podcast Network and Listeners Like You!! Join the FPN Facebook Group: FPN Insiders Partner with FPN: Become the Voice of YOUR Town!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know! FPN: Check out the other shows on the Florida Podcast Network
Pete Andersen discusses Product Culture with Ana Lobo and Steve Moubray. Come learn about his Agile Journey, whiskey and share a few laughs. We first met Pete when we stumbled across The Product Transformation Learning Content. Pete Anderson is a passionate Product Discovery Coach with a demonstrated history of helping teams define their products, customers, outcomes, and hypotheses. Pete has 25+ years of technology solution delivery experience with deep expertise in Product Management, Agile Methodologies, Customer Relationship Management (CRM), Business Process, and Team Building. #Agile_World #AgileWorld #Agile #AgileTalkShow #ProductManagement #ProductCulture #ProductDelivery Online Agile World Better English Website Agile World Better English LinkedIn AgileWorld.Better English Facebook Agile World Better English YouTube Hosts Ana Lobo Steve Moubray Big Thank You to Sabrina "Brains and Braun" C E Bruce Karl "Eye Candy" Smith Agile World © 2021 Broadcast Media, Hollywood, California | Better English Content by Hosts --- Send in a voice message: https://anchor.fm/agile-world/message
Pete Anderson & John Smith on his Book
In this episode, Board President John MacDonnell is back to give us an update about what's happening in our community. Guests for this episode are: Pete Anderson, Veterans Club President Tyler Ingle, General Manager Vanessa Ayon, Assistant General Manager Press the "Click Here to Play" button below to listen. Topics Covered in this Episode: 01:05 ... Read more
Pete has a unique level of confidence when he plays - you literally “feel” you're in good hands with him. This isn't something random, it's something he specifically works on and he explained exactly how. Good & not so good experiences running a record label, studying under Howard Roberts at GIT, tolerance, very clever James Brown tricks, and LOADS more cool stuff. GREAT convo with an amazing guy! If you'd like to support this show: http://www.everyonelovesguitar.com/support Pete played with and produced Dwight Yoakam from 1984-2002 on loads of platinum records & sold-out tours. He's also produced or played on records with Roy Orbison, The Meat Puppets, Tanya Tucker, Jackson Browne, Buck Owens, Steve Forbert,, Lucinda Williams & others… and written and produced TV & movie soundtracks and released 8 solo LPs Subscribe YouTube: https://www.youtube.com/c/EveryoneLovesGuitar?sub_confirmation=1 Website: https://www.everyonelovesguitar.com/subscribe
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