Podcast appearances and mentions of Peter Yarrow

Haim Musicant nous racconte la très belle histoire juive de Peter, Paul and Mary, un groupe folk ou pop-folk originaire du quartier de Greenwhich Village à New York.Formé de Peter Yarrow, Paul Stookey et Mary Travers, repérés en 1961 par Albert Grossman  qui deviendra leur producteur.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

"Fair," as those who attend regularly call it, began in 1969 as a simple fundraiser for an alternative school. But over the last 56 years, it has turned into a veritable Oregon institution. Its mission is to create “experiences that nourish the spirit, explore living artfully and authentically on earth, and transform culture in magical, joyous and healthy ways.” In 2013, “Think Out Loud” went to the Oregon Country Fair and broadcast a show live from just outside the entrance gates to see how that mission was playing out. Oregon Art Beat has a new profile of the fair, which airs on OPB TV Thursday, July 10, and is now up on OPB’s YouTube channel. Our guests included fairgoers Lucy Kingsley, Geoff Silver, John Lyle and Suzi Prozanski, author of the book “Fruit of the Sixties: The Founding of the Oregon Country Fair,” as well as acoustic troubadour Brian Cutean. We also talked with Tripp Sommer, KLCC news director; Sheri Lundell, who helped plan the first fair in 1969, co-founder of the Portland Saturday Market and owner of Cafe 26; and Peter Yarrow (1938 - 2025), formerly of Peter, Paul and Mary, who performed at the 2013 fair. Production note: The 2013 live broadcast was hosted by Dave Miller, produced by Allison Frost, and engineered by Steven Kray and Jonathan Newsome. We had production help from interns Jessica Kittams, Alex Eidman, and Kathryn Boyd-Batstone.

“Around the swimming beagles, bright stars danced on rippling waters like a thousand little fishes of light scurrying in a sea of darkness.Can there be a more beautiful sight than when sky meets ocean in the black of night?” The lawyer whispered to himself, the beagles, and the sea as the soft blanket of summer wrapped them all in her warm embrace.Night is a time of reflection. Not of stars in water only, but of times past and times to come. And such a night was this.”– Beagles of Destinae, chapter 4Ideas pour into the dark waters of the unconscious mind, sparkling like reflected stars. As above, so below. The natives always said it was so.But as Gemini sat on the throne of Aquarius, a dragonfish was born. And thus our story begins.The twins did not mean to unleash a dragonfish, but they had never promised not to, either. And besides, a dragonfish is an adventure.Puff, the magic dragon lived by the sea,and frolicked in the autumn mist in a land called Honalee.Little Jackie Paper loved that rascal Puff,And brought him strings, and sealing wax, and other fancy stuff.Together they would travel on a boat with billowed sail,Jackie kept a lookout perched on Puff's gigantic tail.Noble kings and princes would bow whenever they came,Pirate ships would lower their flags when Puff roared out his name.A dragon lives forever, but not so little boys,Painted wings and giant's rings make way for other toys.One gray night it happened, Jackie Paper came no more,And Puff, that mighty dragon, he ceased his fearless roar.“Puff the Magic Dragon” with lyrics by Leonard Lipton and music by Peter Yarrow appears on the 1963 Peter, Paul and Mary album, “Moving.” An urban myth soon arose that the song was about drugs. It's really a backward look at childhood, and all that was left behind.“The most beautiful things in the world cannot be seen or touched, they are felt with the heart. All grown-ups were once children… but only few of them remember it.”– Antoine de Saint-Exupéry“He saw two boats standing by the lake; but the fishermen had gone from them and were washing their nets. Then He got into one of the boats, which was Simon's, and asked him to put out a little from the land. And He sat down and taught the multitudes from the boat. When He had stopped speaking, he said to Simon, ‘Launch out into the deep and let down your nets for a catch.'”– Luke, ch. 5The book “Peter Pan” was written only after the 1904 play became a huge success.On opening night, Mrs. Snow spoke to the playwright and author, J.M. Barrie about her late husband…“And he would so have loved this evening. The pirates, and the Indians; he was really just a boy himself, you know, to the very end. I suppose it's all the work of the ticking crocodile, isn't it? Time is chasing after all of us. Isn't that right?”“It is not true that people stop pursuing dreams because they grow old; they grow old because they stop pursuing dreams.”– Gabriel Garcia Marquez“The secret of The Muppets is they re not very good at what they do. Kermit's not a great host, Fozzie's not a good comedian, Miss Piggy's not a great singer… Like, none of them are actually good at it, but they love it. They're like a family, and they like putting on the show. And they have joy. And because of the joy, it doesn't matter that they're not good at it. That's what we should all be. Muppets.”– Brett Goldstein“All the world is made of faith, and trust, and pixie dust…If growing up means it would be beneath my dignity to climb a tree, I'll never grow up.”– Peter

When I heard that my friend and mentor and UMFM mainstay for many years, John Prentice, was hoping to do his great show, Planet Mainstage, remotely this year, I knew I had to jump in and help out. John has been a part of the folk & roots music community longer than I've been alive, and certainly all of the time that I've been with UMFM, so it was an honour and a pleasure to be his board operator and help solicit some donations for UMFM's annual Pledge-O-Rama! Unlike commercial stations and other big community stations, we do not get paid to host our shows, so it truly is a labour of love. We also have no idea who is listening to our shows, so it's a real boost when we get opportunities like this, where we hear directly from listeners who appreciate what we do. I make my donation as a thanks to John's show every year, and I hope that many of you will do the same. Today, John played parts of some of his great interviews with the likes of Peter Yarrow, Stephen Fearing, Sam Baardman, and more. Check out Planet Mainstage: https://umfm.com/programming/shows/planet-mainstage Support UMFM's Pledge-O-Rama: https://umfm.com/donate/pledgeorama playlist: https://wp.me/p1lizT-gt7

Welcome to episode twenty-eight of David & Stu… Unhinged! As always, we'd like to thank Clara Wang for creating the fantastic artwork for this podcast. In this episode, David and Stu cover the following:1) The death of Peter Yarrow of Peter, Paul, and Mary, and his connection to Jimmy Carter, who pardoned him for being a sex offender of a minor;2) Biden further disgraces the Presidency by awarding Presidential Medals of Freedom to Hillary Clinton, George Soros, and Anna Wintour, which has caused universal condemnation;3) A sex scandal involving former Chief of the NYPD, Jeffrey Maddrey, who paid significant overtime to female staff who he was romantically entangled with.4) The tragic California wildfires and how the situation has been mishandled by the progressive Mayor, Karen Bass, who left the state for Ghana after being warned that Los Angeles was in danger, and the mismanagement of California's natural resources by state and federal officials, most notably Gavin Newson, a shameless opportunist with no integrity. Connect with David & Stu: • Email David & Stu: davidandstuunhinged@gmail.com and share your comments, concerns, and questions.The views expressed on air during David & Stu... Unhinged! do not represent the views of the RAGE Works staff, partners, or affiliates. Listener discretion is advised.

Send us a message, so we know what you're thinking!In case you hadn't noticed, we love a good cover version! This episode, we're looking at covers - staples, covers from strange sources, and some songs that have had a LOT of covers, including a bunch of covers of Bowie's “Heroes”. Our Album You Must Hear before You Die is “Is This It?” by The Strokes. This punk/Britpop-influenced album got rave reviews on release in 2001 from Rolling Stone, The Village Voice, and New Musical Express.  We're not convinced.  In Knockin' on Heaven's Door, we mourn the loss of Wayne Osmond (of the Osmond Brothers), Chad Morgan, the Aussie country great, and Peter Yarrow, of Peter, Paul and Mary.  We hope they get to sing a rousing chorus of “Puff the Magic Dragon together.  As usual, there's heaps of fun.  Enjoy!! Playlist (all the songs and artists referenced in the episode) Playlist – “Heroes” covers  References:  Heroes, REM, Leonard Cohen, “Suzanne”, “Hallelujah", Bob Dylan, “All along the Watchtower”, "If Not for You”, Olivia Newton-John, Johnny Cash, American Recordings, “All the Young Dudes”, Mott the Hoople, Ian Hunter, XTC, White Music, “This is Pop”, Devo, “(I can't get no) Satisfaction”, Zoot, “Eleanor Rigby”, Rick Springfield, Howard Gable, Alison Durbin, 801, “Tomorrow Never Knows”, ” 801 Live, "You Really Got Me”, Ministry, “Lay Lady Lay”, Al Jourgenson, “Heartbreak Hotel”, Elvis Presley, John Cale, June 1, 1974, Slow Dazzle, Fragments of a Rainy Season, Nirvana, "The Man Who Sold The World", “Unplugged”, Mick Ronson, Linda Ronstadt, “Different Drum”, Stone Ponies, Mike Nesmith, “You're No Good”, “Poor Poor Pitiful Me”, Cowboy Junkies, “Sweet Jane”, Fine Young Cannibals, “Suspicious Minds”, Talking Heads, “Take Me to The River”, Elvis Costello, “(What's So Funny ‘Bout) Peace, Love, And Understanding”, George Benson, “On Broadway”, Mia Dyson, “The Passenger”, Siouxsie & The Banshees, Sara Blasko, “Flame Trees”, “Goodbye Yellow Brick Road”, Reg Livermore, “Celluloid Heroes”, The Kinks, Peter Gabriel, Scratch My Back, I'll Scratch Yours, Motorhead, David Hasselhoff, Blondie, Oasis, Nico, Moby (with Mindy Jones), Phillip Glass, “Superman”, Lifes Rich Pageant, “There She Goes Again”, “Pale Blue Eyes”, “First we take Manhattan”,  

mp3: If I Had A Hammer – Click To Play Pete Seeger and Lee Hays wrote this song in 1949. The Weavers had a hit with it in the 50s and Peter Paul and Mary got it to #10 on the Billboard charts in 1962. I’m posting this in memory of Peter Yarrow who passed … Continue reading "If I Had A Hammer"

Welcome to Season 6, Episode 2 of the Not in Hall of Fame Show!

It's been nearly eight years since today's guest Benjamin Booker released his critically acclaimed second album, Witness, but now he's back with a vengeance with his powerful new album Lower, in stores now, which he made in collaboration with producer Kenny Segal. Booker explains his long road to this highly personal collection of songs. And this past week marked the definitive "last waltz" for The Band with the passing of the last man standing, Garth Hudson. Long Ryders singer/guitarist Sid Griffin, author of Million Dollar Bash: Bob Dylan, The Band, and the Basement Tapes, is here to try and convey the monumental impact that Garth and The Band had on American music and around the world, particularly in light of our present Post-Chalamet Dylan Renaissance,  And a reminder, you can still help Musicares help the people who bring you the music by donating at Musicares.org/firerelief and if you're a music business professional in need, you may be eligible for assistance by emailing musicaresrelief@musicares.org The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com) Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.   Be kind to others, and to yourself, and don't forget to let your music keep you sane when times get tough.   This episode is dedicated to Garth Hudson and Peter Yarrow.

The Old Dogs ramble about the big folk revival of the early sixties. We learn about a rat problem that has one police department clearing out its evidence shelves. We hear from Suzanne Savoy about that whole business of sex. Paul once again tries to stump the older Old Dog. And we mourn the passing of Peter Yarrow. The Old Dogs Conversation is with Dennis Sullivan. A geriatrician whose focus is better treatment for the aged. 

Remember When is broadcast live every Sunday evening from 9pm until midnight on 3AW in Melbourne - You can listen or watch live through www.3aw.com.au or on the old fashioned wireless on 693 AM : Col Elliott is our Remember When Legend. : Rick Milne talks Antiques and Collectables : Kevin pays tribute to Simon Townsend, Dame Joan Plowright, David Lynch, Peter Yarrow, and Leila Hayes : Kevin Trask takes us to 1976 in Trask’s Time Tunnel : Music montage of the hits of 1983. : Tony McManus previews Australia Overnight : Produced by Ben Davidson with Gayle Watson in the Newsroom See omnystudio.com/listener for privacy information.

Cousin Brucie brings an evening packed with music, memories, and tributes. The show honors late legends Peter Yarrow of Peter, Paul, and Mary, and soul icon Sam Moore of Sam and Dave. Cousin Brucie shares personal stories, plays listener requests, and reflects on the impact these artists had on music and culture. The evening includes live call-ins, engaging conversations, and a special 'Love Hour, Half Hour' segment dedicated to romantic tunes. The show also announces Cousin Brucie's upcoming network expansion through the Red Apple Audio Network, ensuring more listeners can join in the musical celebration across the nation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Peter Paul & Mary were the first folk act to gain mainstream success. They played songs with contemporary themes and reached a younger audience than their contemporaries did. The were also the first act to cover a Bob Dylan song. We pay tribute to Peter Yarrow who passed away this week. The mamas & The Papas were dysfunctional group of people that sang great harmonies together. Jon Phillips wrote and produced great pop songs that transitioned from folk rock to wat was later referenced as "Sunshine Psychedelic Pop". These are select tracks from both bands.Please help in the relief effort to help the people of Los Angeles who have been affected by those horrific fires.  Please consider making a donation to The Red Cross to find shelter, clean drinking water and other necessities that are desperately needed. got to http://www.redcross.org to make a donation.Donate Now - Online Donations | American Red CrossMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Also:Kathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/Please feel free to donate or Tip Jar the show at my Venmo account@jessie-DelgadoII

9 am - Top stories9:15 - Steph Yu of the Public Assets Institute on their Vermont report card. 9:30 - former Chittenden Senator Irene Renner on the first week of the Legislature and what to look for on property tax and other issues. 10 am - Bob Ney10:30 - Preview the upcoming grand opening of Roots Farm Market in Middlesex. 10:45 - Saying goodbye to Peter Yarrow of Peter, Paul and Mary.

We remember renowned folk singer and composer Peter Yarrow, who passed away earlier this week, by replaying a 2012 interview about his children's book based on his song "Puff, the Magic Dragon."

Nueva entrega de Música de Contrabando, semanario de actualidad musical (9/1/25)Entrevistas:- Hitten anuncia gira de 20 fechas por los States. Nos da detalles Dani Meseguer- Carey (Aarön Sáez y Antonio Turro) viajaron hasta Cuba, a los estudios de Pablo Milanés, para grabar ‘La casa Rosa'. Comienzan su gira de 2025Noticias:Adiós a Peter Yarrow, de Peter, Paul & Mary. The Waterboys publican un disco conceptual sobre el actor Dennis Hopper. Los miembros de Janes's Addiction graban sin Perry Farrell. Post Malone da una propia de 20 mil dólares. Trent Reznor y Atticus Ross se llevan el Globo de Oro por ‘Challengers' (‘Rivales'). The Undertones nos visitan en marzo. Primavera Sound Barcelona agota abonas cinco meses antes de su celebración. Linkin Park actuará en la final de la Champion League. Neil Young da finalmente el sí a Glastonbury. The Lemonheads y Chucho, primeros nombres del Visor Fest. The Chameleons publican un directo en Barcelona de 1985. Garbage versionan clásicos y alternativos en ‘copy/paste vol. 1'. David Bowie habría cumplido 78 en 2025. Novedades discográficas:Franz Ferdinand, Mogwai, Gary Louris, Squid, Throwing Muses, Manola, Bubble Tea and Cigarettes, The Amazons, Marinero, Girlpuppy, Spelling, Darkside, Destroyer, Alpaca Sports, The Sand, Mourn, Estela Gris, Deep Sea Diver, Everyone Says Hi, Papaya, Sueño Xanadu, Alberto & García con Kevin Johansen, Agenda de conciertos:Los Zigarros, Muerdo, Carlangas y Los Cubatas, Ruto Neón, Tijuana Road, Fuego Cruzado, Los Rodrigos, Rock Murciano por Valencia, Carey, Casero, Lichis, Gabriel Hernández y Río Viré...

Tony opens the show by talking about the passing of Peter Yarrow and his connection to the show, and he also talks about a new venture in golf that he watched on TV. Chuck Todd calls in to make his weekly picks against Reginald the Monkey and Tony closes out the show by opening up the Mailbag. Songs : Don Stewart “Nowhere” ; “I'll Take That” To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In the second hour of "Connections with Evan Dawson" on 1/8/25, our guests discuss the legacies of Bob Dylan and Peter Yarrow, while exploring which modern artists could be voices of their generation.

New wild fires in California. Fmr. Pres Jimmy Carter's lays in state at the US Capitol. Trump wants to rename Gulf of Mexico the 'Gulf of America' and annex Greenland. Driver in Las Vegas Cybertruck explosion used ChatGPT to plan blast. Woke Wednesday. Peter Yarrow of folk-music trio Peter, Paul and Mary dies at 86. Waymo passenger nearly misses his flight after car drives in circles. 

This is a TRIBUTE EPISODE for PETER YARROW - Peter of the iconic trio “Peter, Paul And Mary”. Peter passed away yesterday at age 86. Peter was a guest on this podcast in October 2022.Peter, Paul and Mary were a much beloved folk based group that had an incredible string of hits in the 1960s and beyond, including “Puff The Magic Dragon”, “If I Had A Hammer” “Lemon Tree” and “Leaving On A Jet Plane”. In this episode Peter gives an amazing concert within the interview and we talk about the group, the ‘60s, their songs, Bob Dylan, Peter Seeger and so much more. A true gem!Goodbye my friend. And thanks for all the great music.My featured song in this episode is “To The Zoo!”. Spotify link here---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—-------------------------------------Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Sacramento Prep Music Academy continues. Peter Paul and Mary. Peter Yarrow. In the Year 2525. The Pat Walsh Show.

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Bob and Dean talk about celebrities in L.A. leaving their homes, the death of Peter Yarrow, and Lisa Kudrow’s ‘Friends’ story. They also share details about the divorce finalization between Jennifer Lopez and Ben Affleck, as well as what’s […]

In light of the passing of Peter Yarrow, from Peter Paul, and Mary TJ talks about the song "Puff the magic Dragon" and all the wild feelings it made he and others felt when they were kids. Then the conversation strangely turns about more music, covers, and plagiarism. All this and more with TJ on News Radio KKOB See omnystudio.com/listener for privacy information.

NBA News, NFL News, MLB News, MLB Hotstove, WNBA News, NHL News, A Farewell to Brian Matusz, Peter Yarrow, Bob Veale, George Folsey Jr, John Capodice, Steve DiMeglio, Josh Welsh, Wayne Osmond, Jeff Baena, The Vivienne, Mike Rinder, Gwen Van Dam, Keller Fornes, Al MacNeil, Dwight Foster, Barry Kramer & Jonathan Stanko!

L'actu culture-média de ce mercredi 08 janvier : Le groupe Meta met fin à son système actuel de fact-checking Touche pas à mon poste, l'émission de Cyril Hanouna pourrait rebondir sur une autre chaîne de la TNT en France C'est ce vendredi que François De Brigode fait son retour en télévision Alouette , Alouette, c'était son plus grand succès, Alouette, le chanteur Gilles Dreux est décédé Le chanteur auteur compositeur Peter Yarrow est décédé Merci pour votre écoute N'hésistez pas à vous abonner également aux podcasts des séquences phares de Matin Première: L'Invité Politique : https://audmns.com/LNCogwPL'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqxL'humour de Matin Première : https://audmns.com/tbdbwoQRetrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Retrouvez également notre offre info ci-dessous : Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Matt Boo from Duluth Stove & Fireplace, CA fire talk, should we buy Greenland, Bob from Far West Duluth, WX, Fred from Hawthorne, more on Greenland, Paul Stookey's gift to Peter Yarrow, and more...See omnystudio.com/listener for privacy information.

California fires update, Peter Yarrow, Lady O, District 3B State House representative Natalie Zeleznikar, Chris Dahlberg, and more...See omnystudio.com/listener for privacy information.

LOS ANGELES (AP) — A wildfire whipped up by extreme winds is sweeping through a Los Angeles hillside dotted with celebrity residences. Homes have burned and tens of thousands of people are under evacuation orders, some of whom abandoned cars and fled on foot due to clogged roads. California Gov. Gavin Newsom says many structures have already been destroyed in the Pacific Palisades wildfire.  NORFOLK, Va. (AP) — The plunging polar vortex is bringing subfreezing temperatures to some of the southernmost points of the U.S. A forming storm system is threatening to dump snow on parts of Texas and Oklahoma, while communities in Louisiana and Florida may see frigid cold.  WASHINGTON (AP) — Jimmy Carter's state funeral has moved to Washington after observances in his native Georgia. The 39th president's remains left the Carter Presidential Center on Tuesday morning and flew to the Washington area aboard Special Air Mission 39.  PALM BEACH, Fla. (AP) — President-elect Donald Trump says he won't rule out the use of military force to seize control of the Panama Canal and Greenland as he declared U.S. control of both to be vital to American national security.  FORT LAUDERDALE, Fla. (AP) — Authorities say two bodies have been found in the landing gear compartment of a JetBlue aircraft at a South Florida airport. The airline says the bodies were discovered in the wheel well area during a routine post-flight inspection on Monday night at Fort Lauderdale-Hollywood International Airport.  LOS ANGELES (AP) — The singer-songwriter and social activist best known as one-third of the folk-music group Peter, Paul and Mary, has died at age 86. Peter Yarrow died Tuesday at his home in New York.  In other news: Biden administration bans unpaid medical bills from appearing on credit reports. Appeals court rejects Trump's latest attempt to get Friday's hush money sentencing called off. Jack Smith finalizing Trump investigation report that could be released as early as Friday. Meta replaces fact-checking with X-style community notes. Man pleads not guilty to burning woman to death on a New York City subway train. Jean-Marie Le Pen, French far-right leader known for fiery rhetoric against immigration, dies at 96. The Titans are making a change in leadership and the Chargers are bulking up their roster ahead of the playoffs. 49ers head home early following a trying season that started with Super Bowl hopes. Gaudreau suspect pleads not guilty to homicide charges after turning down 35-year prison sentence. —The Associated Press About this program Host Terry Lipshetz is managing editor of the national newsroom for Lee Enterprises. Besides producing the daily Hot off the Wire news podcast, Terry conducts periodic interviews for this Behind the Headlines program, co-hosts the Streamed & Screened movies and television program and is the former producer of Across the Sky, a podcast dedicated to weather and climate. Theme music The News Tonight, used under license from Soundstripe. YouTube clearance: ZR2MOTROGI4XAHRX

En Cultura Rápida hoy David García nos pone al día con la compra del Ministerio de Cultura de la Casa Gomis, lo último de los festivales y el fallecimiento de Peter Yarrow.Escuchar audio

AP correspondent Ben Thomas reports Peter Yarrow, one-third of folk-music trio Peter, Paul and Mary, has died at 86.

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3rd ANNIVERSARY SHOW! I'm rebroadcasting our three anniversary shows! This is our third one from March 2024 featuring different and unique guest promos by a slew of guests who appeared during that year: “Cousin Brucie” Morrow, America's favorite air personality; John Lodge of the Moody Blues; Ted Nugent; Al Kooper of Blood Sweat & Tears; Gary Puckett of the Union Gap; Suzi Quatro; Tony Orlando; William Lee Golden of the Oak Ridge Boys; Richie Furay of Buffalo Springfield; Peter Noone of Herman's Hermits; Timothy B. Schmit of the Eagles; Jeremy Swift of Ted Lasso; Rod Argent of The Zombies; The Amazing Kreskin; Jim Messina of Loggins and Messina; Stewart Copeland of The Police; Gilbert O'Sullivan; Ron Carter, Bass Maestro; Randy Brecker of The Brecker Brothers; Lou Christie; Nils Lofgren of The E Street Band; Jeremy Clyde of Chad & Jeremy; Songwriter Brendan Graham; Saxophonist Ada Rovatti; Peter Yarrow of Peter Paul & May; Mark Farner of Grand Funk Railroad; Guitarist Elliott Randall of Steely Dan; Laeticia Eido of Fauda; Jerry Jemmott the Groovemaster; Roger Earl of Foghat; Felix Cavalieri of The Rascals; Leisa Rea of the Ukelele Orchestra of G.B. ; Songwriter L. Russell Brown; Composer Neil Martin; Andy Summers of The Police; Singer-Songwriter Henry Gross; Gary Lewis of The Playboys; Burton Averre of The Knack; Jazz pianist Eliane Elias; The Celtic Tenors; Tommy James; Denny Tedesco director of The Wrecking Crew; Composer Sherry Chung; Bruce Belland of The Four Preps; Classical Music publicist Mary Lou Falcone; Bruce Kulick of KISS; Navid Negahban of The Old Man; Steve Hackett of Genesis; Rob Stoner of Bob Dylan's Rolling Thunder band; John Helliwell of Supertramp; Bob Reynolds of Snarky Puppy; Jim Yester of The Association; Singer-Songwriter J.J. Gilmore; Rock Photographer Jay Blakesberg; Fred Lipsius of Blood Sweat & Tears; Robert Funaro of The Sopranos; Bassist Nathan East; Jim Peterik of the Ides of March; Mark Stein of Vanilla Fudge; Robby Robinson musical director for Frankie Valli; Patrick Myers of Killer Queen; Tony Carey of Rainbow; Eurovision winner Eimear Quinn; and Peter Asher of Peter & Gordon!---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

2nd ANNIVERSARY SHOW! I'm rebroadcasting our three anniversary shows! This is our second one from March 2023. It features stories and vignettes from a host of guests who appeared during that year: Jeremy Clyde of the iconic duo Chad and Jeremy; Peter Asher of the British Invasion duo Peter and Gordon; Rock Photographer Bob Gruen; Suzi Quatro; Kenny Jones of the Small Faces; Bruce Belland of the Four Preps; Tommy James; Richie Furay of Buffalo Springfield and Poco; Shane Mitchell of Irish band Dervish; Peter Yarrow of Peter Paul and Mary; Jim McCarty of The Yardbirds; Tony Orlando; Gary Puckett with the Union Gap; Steve Hackett of Genesis; The Celtic Tenors; Gilbert O'Sullivan; John Helliwell of Supertramp; and Brian Hyland!---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Send us a Text Message.Become a "Spinner" and support Full Spirals in an ongoing way,  for as little as $1/MONTH.Or  Support the show with a one time Donation to help cover production costs.Full Spirals theme song composer, and recording artist--HELEN AVAKIAN!An Award-winning songstress and International Fingerstyle Champion Helen Avakian has moved audiences for decades with her haunting voice and versatile guitar playing.Speaking with Helen and hearing her incredible stories—was so enriching that we spent a lot of time just sort of talking and meandering through her life–which by the way is punctuated with these FANTASTIC Full Spiral moments!Lauded a number one “Favorite Acoustic Act” four times by Rhythm and News magazine and winner of eight first prizes from the NewSongs Contest, she has performed on PBS radio and television, on stage with Peter Yarrow (of Peter, Paul, and Mary), and as an opener for luminaries ranging from Stanley Jordan, Mary Chapin Carpenter, Imuh-gen Heep to the New York Philharmonic. I left our time together SO inspired and reminded of the importance of supportive mentors and taking chances in this life! (Like when Helen met and jammed with founder and lead guitarist of Fanny, June Millington!)My  wish for you is for you to listen to Helen with the same childlike wonder with which Helen sees the world and seems to approach her whole life.   In JOY!PBS Documentary LINK:“Fanny: The Right to Rock”, PBShttps://www.pbs.org/show/fanny-right-rock/Support the Show.

Peter Yarrow was a member of the iconic folk group Peter Paul and Mary, the trio which had so many hits in the 1960s including “Blowin In The Wind”, “Puff The Magic Dragon” (which Peter co-wrote), “Leaving On A Jet Plane”, “Lemon Tree”, “I Dig Rock And Roll Music” and many more. This wonderful episode is part interview and part concert, as Peter sings and talks about the group, Albert Grossman their manager, the 1963 March On Washington, the Peace Movement, Bob Dylan and much more.My featured song is “To The Zoo!”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Peter atwww.peteryarrow.net Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

It's finally Friday. This hour starts off with talk about where the guys are at with their weight. They went on the air on June 26th of 2023 and have been trying to lose weight all this time. Not sure they're doing very well. They talk about Maino's bike that he STILL hasn't gotten. Today is Web Designer Day, Macaroon Day, Smile Day, No Tobacco Day. Birthdays include: Brooke Shields is 59, Corey Hart is 62, Joe Namath is 81, Sharon Gless is 81, Peter Yarrow is 86, and Clint Eastwood is 94. It's also a "Feisty Friday" and the guys get into the naming of school and sports mascots. Then "Murphy in The Morning" joins on the phone to settle a bet between the boys. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guest: Murphy in the Morning

Charlotte Morris discovered her passion for this work at a young age because the fabric of her home and family life was music. Classical music, Broadway tunes, and especially folk music. “Every family car ride" says Charlotte "was filled with folk clas-sics, – Joni Mitchell, Judy Collins, Simon & Garfunkel, and Peter, Paul & Mary.” Charlotte learned a number of instruments on her own, and be-fore she knew it, Charlotte said, “Music grew from something I loved to something I needed." In January of 2018, Charlotte joined Lonesome Traveler – a na-tional concert tour where the cast performed the history of folk music, starting with Woody Guthrie and ending with songs from Bob Dylan, Joni Mitchell and Joan Baez. While on the road, folk legends including Tom Chapin, George Grove (Kingston Trio), Peter Yarrow and Paul Stookey (both of Peter, Paul and Mary) performed with the cast at various venues. Next week, Charlotte's got her own band coming with her from Nashville to play on Red Barn Radio. Put this broadcast on your calendar and plan to be with us for an evening of great music and fun conversation with Charlotte Morris

Welcome to a Very Special Episode of the podcast celebrating the show's 3rd Anniversary! I started the podcast in March 2021 during the depths of the pandemic, when musicians like me couldn't play live. It was a bleak time for all of us. I needed to find a creative outlet and so I started this podcast. From the beginning it grew quickly and exponentially. It's been ranked for some time now in the Top 1% of all podcasts. I have listeners worldwide on every continent in 200 countries, and it has won several awards! My guests have included many of the world's most famous musicians and other creatives.Last year to celebrate the 2nd Anniversary I played excerpts from several guest interviews. But for this 3rd Anniversary show I wanted to do something different - and fun. So here's what I decided. After each interview I ask my guest to record a short promo for the podcast. I use these promos at the beginning of other guest interviews. Everyone does their promo a little differently in their own style. After all, they're artists! So I thought it would be fun to put together a montage of promos featuring a slew of my guests. The entire list is below.I want to thank my guests and my listeners for the success of the podcast. As I like to say - Keep On Rockin'! Featured Guests:"Cousin Brucie" Morrow, John Lodge, Ted Nugent, Al Kooper, Gary Puckett, Suzi Quatro, Tony Orlando, William Lee Golden, Richie Furay, Peter Noone, Timothy B. Schmit, Jeremy Swift, Rod Argent, The Amazing Kreskin, Jim Messina, Stewart Copeland, Gilbert O'Sullivan, Ron Carter, Randy Brecker, Lou Christie, Nils Lofgren, Jeremy Clyde, Brendan Graham Ada Rovatti, Peter Yarrow, Mark Farner, Elliott Randall, Laetitia Eido, Jerry Jemmott, Roger Earl, Felix Cavaliere, Lisa Rea, L. Russell Brown, Neil Martin, Andy Summers, Henry Gross, Gary Lewis, Burton Averre, Eliane Elias, The Celtic Tenors, Tommy James, Denny Tedesco, Sherry Chung, Bruce Belland, Mary Lou Falcone, Bruce Kulick, Navid Negahban, Steve Hackett, Rob Stoner, John Helliwell, Bob Reynolds, Jim Yester, JJ Gilmour, Jay Blakesberg, Fred Lipsius, Robert Funaro, Nathan East, Jim Peterik, Mark Stein, Robby Robinson, Patrick Myers, Tony Carey, Eimear Quinn, Peter Asher---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE RICH ONES”. Robert's new single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Crossover instrumental.Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Take a trip back to 1970 with us, Scott McLean and the Wrecking Two, as we explore a year of radical shifts in music and movies. Discover how the echoes of the '60s intertwined with the dawn of a new era, from Syd Barrett's haunting solo pursuits to the debates surrounding the legendary Jimi Hendrix and his influence on artists like Prince. Our discussion isn't just a trip down memory lane; it's an excavation of the profound moments that continue to shape our cultural legacy.Join our roundtable as we chat about everything from the birth of heavy metal with Black Sabbath to the quirky anecdotes surrounding Led Zeppelin's pseudonymous gig in Copenhagen. The conversation takes unexpected turns with topics like the dark side of the industry, including the controversies of Peter Yarrow and John Lennon, and the formation of bands like Aerosmith and The Doobie Brothers. We'll even delve into the tragic losses that shocked the music world, remembering the likes of Janis Joplin. This episode is more than just a history lesson; it's a heartfelt homage to the beats and reels that defined a generation.And it's not just about the music - the silver screen gets its due as well. Debate with us whether "Beneath the Planet of the Apes" claims the title for the best sequel of all time and revel in the personal stories that connect us to the cinematic adventures from 1970. By the time you've finished listening, you'll have not only savored the flavors of a bygone era but also gained a deeper appreciation for the milestones and the missteps that paved the way for today's cultural landscape.

Here's a reboot of a fan favorite: Noel Paul Stookey, the Paul of Peter, Paul & Mary. He not only rode the folk wave of the early 1960s with such indelible songs like "Puff the Magic Dragon," "If I Had a Hammer" and helping popularize a young Minnesotan bard who went by the stage name of Bob Dylan, but helped created it. He shares the iconic trio's origin story as well as his own, and the many memories of a life, well lived, in music. Peter, Paul & Mary's long, legendary career was cut short with Mary Travers' tragic death in 2009, but their place in the cultural zeitgeist is eternal. Noel, a part-time Ojai resident, joins us to talk about his new album, "Fazz: Now & Then" and to reflect on the experience of collaborating with fellow musicians during the pandemic to create this nuanced, wide-ranging collection of 20 original songs with talented musicians such as Kent Palmer, Paul Winter, Paul Sullivan, David LaPlante and Edward Mottau. Fazz, as Noel explains, was christened by Paul Desmond of the Dave Brubeck Quartet to explain Peter, Paul & Mary's distinct fusion of jazz and folk. Noel picks up the resident Ojai podcast guitar (be still, my heart) to explain the shadings of alternate chord structures that inform much of the color of the album, as illustrated by the A Major, and the A Major 7th, its "smoky, mysterious cousin." Noel talks about writing "The Wedding Song: There is Love" - for Peter Yarrow's wedding, and his reluctance to perform it again until urged by Peter, and how it has made many, if not most, of the lists of most beautiful songs of all time, right up there with fellow Ojai resident Amanda McBroom's "The Rose." He also discusses his Christian faith and the epiphany he had at age 30 after a decade of fame, and the toll it took on his well-being. There's relevant folk music news: Noel's good friend John McCutcheon just released “Ukraine Now.” We did not talk about Ron DeSantis' fading aspirations, the Buffalo Bills abysmal overtime record or the enduring mystery of who ordered the hit on Tupac Shakur.

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Project: I'm Speaking, featuring HELEN AVAKIANAn Award-winning songstress and International Fingerstyle Champion Helen Avakian has moved audiences for decades with her haunting voice and versatile guitar playing.Speaking with Helen and hearing her incredible stories—was so enriching that we spent a lot of time just sort of talking and meandering through her life–which by the way is punctuated with these FANTASTIC Full Spiral moments!Lauded a number one “Favorite Acoustic Act” four times by Rhythm and News magazine and winner of eight first prizes from the NewSongs Contest, she has performed on PBS radio and television, on stage with Peter Yarrow (of Peter, Paul, and Mary), and as an opener for luminaries ranging from Stanley Jordan, Mary Chapin Carpenter, Imuh-gen Heep to the New York Philharmonic. I left our time together SO inspired and reminded of the importance of supportive mentors and taking chances in this life! (Like when Helen met and jammed with founder and lead guitarist of Fanny, June Millington!)My  wish for you is for you to listen to Helen with the same childlike wonder with which Helen sees the world and seems to approach her whole life.   In JOY!Become a "Spinner" and support Full Spirals in an ongoing way,  for as little as $1/MONTH.Or you can  Support the show with a one time Donation to help cover production costs.PBS Documentary LINK:“Fanny: The Right to Rock”, PBShttps://www.pbs.org/show/fanny-right-rock/Support the show

Paul Samuel Dolman's conversation with Peter Yarrow on the What Matters Most podcast. The post Peter Yarrow #1153 appeared first on Paul Samuel Dolman.

Chris Chandler is a maker of new things out of two things, out of three things, out of four — one of the world's consummate collaborators, sharing tracks with luminaries, fusing the verse he inhabits with the chords and choruses of artists such as Dan Bern, Jim Infantino, Peter Yarrow, Anne Feeney and Paul Benoit. I've known Chris a bit over the years, and years ago shared stages with him here and there, and I've always been moved and awed by what he manages to do with a pair of vocal cords and the truth. But I've never heard his full story or gotten under the hood with the head that makes it all work. Until this episode.Clips in this episode:Jupiter Falling (James O'Brien, Live at City Winery [unreleased, Dan Bern intro] — 2023)Stone Mountain/Georgia (Chris Chandler and Paul Benoit, ‘So Where Ya Headed?' — 2009)Hannibal / Would You Die for a Necktie? (Chris Chandler and Dan Bern, ‘Collaborations' — 1999)Carnaval (Chris Chandler and Anne Feeney, Live at Kerville — 2003)Travels with Charlie (Chris Chandler, ‘As Seen on No Television — 1992)Lionel Say / Breakfast Serial Killers, (Chris Chandler and Jim Infantino, ‘Collaborations' — 1999)Loafer's Glory / Nothin ‘ to Do But Go (U. Utah Phillips and Mark Ross, ‘Loafer's Glory' — 1997)Sourmouth Sprout (Chris Chandler and Anne Feeney, ‘Hold Me Up to the Light' [Peter Wilde] — 2003)Last Thoughts on Elvis Presley (Chris Chandler, ‘Convenience Store Troubadours' — 1996)Eli Whitney was an A-Hole / Maggie's Farm (Chris Chandler and Paul Benoit, ‘Pocket Call From My Dreams' — 2017)Meek Rising - Don't Go Back to Sleep (Chris Chandler and Paul Benoit, ‘Don't Go Back to Sleep' — 2022)Lightning Bugs and Barflies (Chris Chandler and Paul Benoit, ‘Matadors' — 2011)

Welcome to the 2nd Anniversary Show of the Follow Your Dream podcast! Since beginning the podcast in March 2021, during the depths of the pandemic, it's grown exponentially to the point where it's now in the Top 1% of all podcasts with listeners in 200 countries! This Special Anniversary show features clips from 18 artists who have been guests on the podcast over the last year: Jeremy Clyde (Chad & Jeremy)Peter Asher (Peter & Gordon)Bob Gruen (Rock Photographer)Suzi QuatroKenny Jones (Small Faces; Faces; The Who)Bruce Belland (The Four Preps)Tommy James (Tommy James and the Shondells)Richie Furay (Buffalo Springfield; Poco)Shane Mitchell (Dervish)Peter Yarrow (Peter Paul and Mary)Jim McCarty (The Yardbirds)Tony OrlandoGary Puckett (Gary Puckett and the Union Gap)Steve Hackett (Genesis)The Celtic TenorsGilbert O'SullivanJohn Helliwell (Supertramp)Brian HylandI hope that you enjoy the show and continue to listen and subscribe to the podcast! —--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“BOBBY M AND THE PAISLEY PARADE” is Robert's new album. Featuring 10 songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. Produced by Tony Carey. Called "ALBUM OF THE YEAR!" by Indie Shark and “One of the great rock sets of the year!” by Big Celebrity Buzz. "Catchy and engaging with great tunes!" - Steve Hackett (Genesis)"This album has life and soul!" - John Helliwell (Supertramp)"Bobby M rocks!" - Gary Puckett (Union Gap)"Nice cool bluesy album!" - Jim McCarty (The Yardbirds)"Robert really really really rocks!" - Peter Yarrow (Peter Paul & Mary)"Great songs. Great performances. It's a smash!" - David Libert (The Happenings)Click here for all streaming links. Download here.LIVE AT STEELSTACKS is the 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. “Captivating!” Elliott Randall (Steely Dan) “PGS burns down the house!” Tony Carey (Rainbow)“Full of life!” Alan Hewitt (The Moody Blues) “Virtuoso musicians!” (Melody Maker) “Such a great band!” (Hollywood Digest) The album can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded atThe PGS Store.ALL OF THE TIME is Robert's recent single by his band Project Grand Slam. It's a playful, whimsical love song that's light and airy and exudes the happiness and joy of being in love. “Pure bliss…An intimate sound with abundant melodic riches!” Melody Maker/5 Stars) “Ecstasy…One of the best all-around bands working today!” (Pop Icon/5 Stars) “Excellence…A band in full command of their powers!” (Mob York City)Watch the video here. You can stream “All Of The Time” onSpotify, Apple or any of the other streaming platforms. And you can download it here.THE SHAKESPEARE CONCERT is the album by Robert's band, Project Grand Slam, recorded "live" in the studio. It's been praised by Mark Farner (Grand Funk Railroad), Jim Peterik (Ides Of March), Joey Dee (Peppermint Twist), Elliott Randall (Steely Dan) and Sarah Class (British composer). Reviews: “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. THE FALL OF WINTER is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.FOLLOW YOUR DREAM HANDBOOK is Robert's Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFacebook - www.facebook.com/followyourdreampodcastEmail Robert - robert@followyourdreampodcast.com Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comInstagramPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

The theme of this Music Day episode is Cover Songs.A cover song is when an artist performs a song that someone else has already performed. Most artists have done covers. The Beatles and The Rolling Stones, for example, both started out exclusively playing covers before they began to write their own songs.This episode presents two of my covers. I prefer to call them “reimagined versions” because I always try to make my covers as original as possible. The first is “You Really Got Me” by The Kinks. It features the wonderful Lucy Woodward on vocals. Dave Davies of The Kinks has praised our cover. The second is “The ‘In' Crowd”, Dobie Gray's hit that was also a jazz hit for Ramsey Lewis. It features the sublime Ziarra Washington on vocals.Stay tuned for more Music Day episodes from time to time.“You Really Got Me” (Spotify link here) from The Queens Carnival album. Spotify link here. “The ‘In' Crowd” (Spotify link here) from the album PGS 7. Spotify link here. —---------------------------------------- “Dream With Robert Miller”. Click here.If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here.“Bobby M and the Paisley Parade” is Robert's forthcoming album. Featuring 10 new songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and Deobrat Mishra, international sitar sensation. The album has been called “Album Of The Year!” (Indie Shark), “One of the great rock sets of the year!” (Big Celebrity Buzz), and “An adventure that keeps us on the edge of our seats!” (Pop Icon). The album has been praised by famous musicians including Steve Hackett of Genesis, Gary Puckett of Gary Puckett and the Union Gap, Peter Yarrow of Peter, Paul and Mary, Jim McCarty of The Yardbirds, and David Libert of The Happenings. The album will be released via Special Episodes of this podcast after the new year.“Live At SteelStacks” is the new 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. Elliott Randall, of Steely Dan fame, the guitarist who recorded the unforgettable solos in ‘Reelin' In The Years', calls Live At SteelStacks “Captivating!”. Tony Carey, the incredible multi-talented artist who has produced Joe Cocker, Eric Burden and John Mayall, says “PGS burns down the house!”. Alan Hewitt of the Moody Blues says “Full of life!” Melody Maker says simply “Virtuoso musicians!”, and Hollywood Digest says “Such a great band!”. “Live At SteelStacks” can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.“All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.“The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail

Alexandre Da Costa is that rare classical musician - an internationally renowned violinist and conductor who does both at the same time. He's performed over 2000 concerts in over 30 countries with a host of major orchestras. He is the Music Director of the Longueuil Symphony and the Artistic Director of the Stradivaria Festival. And he plays a 1727 Stradivarius violin. We talk about learning and practicing piano and violin as a youngster, what it's like to play and conduct at the same time, the true role of a conductor in a symphony orchestra, and much more.My featured song is “Ma Petite Fleur” from the Spring Dance album by my band, Project Grand Slam. Spotify link here.“Dream With Robert Miller”. Click here.---------------------------------------------If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here.Alexandre and I discuss the following:Starting on piano and violinPracticingBecoming a conductorThe role of a conductorIn the Songfest portion we play and discuss:PachobelAmazing GraceShow Must Go On “Bobby M and the Paisley Parade” is Robert's forthcoming album. Featuring 10 new songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and Deobrat Mishra, international sitar sensation. The album has been called “Album Of The Year!” (Indie Shark), “One of the great rock sets of the year!” (Big Celebrity Buzz), and “An adventure that keeps us on the edge of our seats!” (Pop Icon). The album has been praised by famous musicians including Steve Hackett of Genesis, Gary Puckett of Gary Puckett and the Union Gap, Peter Yarrow of Peter, Paul and Mary, Jim McCarty of The Yardbirds, and David Libert of The Happenings. The album will be released via Special Episodes of this podcast after the new year.“Live At SteelStacks” is the new 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. Elliott Randall, of Steely Dan fame, the guitarist who recorded the unforgettable solos in ‘Reelin' In The Years', calls Live At SteelStacks “Captivating!”. Tony Carey, the incredible multi-talented artist who has produced Joe Cocker, Eric Burden and John Mayall, says “PGS burns down the house!”. Alan Hewitt of the Moody Blues says “Full of life!” Melody Maker says simply “Virtuoso musicians!”, and Hollywood Digest says “Such a great band!”. “Live At SteelStacks” can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.“All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.“The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with Alexandre at:www.alexandredacosta.com Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail

My guest in this episode is Peter Yarrow - Peter of the iconic trio “Peter, Paul And Mary” - the folk based group that had an incredible string of hits in the 1960s and beyond, including “Puff The Magic Dragon”, “If I Had A Hammer” and “Leaving On A Jet Plane”. Peter gives an amazing live concert within the interview and we talk about the group, the ‘60s, their songs, Bob Dylan, Woody Guthrie and so much more. A true gem!My featured song in this episode is “To The Zoo!”. Spotify link here“Dream With Robert Miller”. Click here.---------------------------------------------   Discussion and songs in this episode:His recent concert with Noel Paul Stookey (Paul of PP&M)“Blowing In The Wind” (Live)PP&M's music as life affirmingPolitical and message songs; making the right choiceHow PP&M chose their songsTheir manager, Albert Grossman“Stewball” 3 comedians in Greenwich Village: Cosby, Woody and StookeyMary Travers“Puff The Magic Dragon” (Live)“Lemon Tree”“If I Had A Hammer”1963 March On Washington“Blowing In The Wind” (Live)Bob Dylan7 year hiatus“Like The First Time” (Live)“Don't Let The Light Go Out” (Live)“This Land Is Your Land” - Recorded and LiveWoody Guthrie“Weave Me The Sunshine” (Live) If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here. “All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple, Amazon or any of the other streaming platforms. And you can download it here. “The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE.  “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here. Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with Peter at:https://www.peteryarrow.net Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail

Perhaps no one personified the folk music trend of the 1960s like Peter, Paul and Mary. With a repertoire that included not only their own songs but covers of songs by Pete Seeger and Bob Dylan, Peter Paul and Mary became superstars. One of their most enduring hits was the wildly popular, to this day, Puff the Magic Dragon. But it wasn't until 2007 that the story of Puff the Magic Dragon was turned into an illustrated children's book. That was the effort of Peter Yarrow, the co-writer of the song. And the book turned into a huge, huge commercial success. That year is when I first met Peter yarrow, and we talked about his book about puff. A couple of years later we had another interview when he came out with another similar book based on their song. Day is Done.