Podcasts about rainy day women

In questo episodio confesso quale sia il mio esempio virtuoso e... scoprirai, se frequenti i miei corsi, che probabilmente lo conosci anche tu!Ecco l'elenco degli splendidi brani che ho ascoltato in auto oggi: Album Highway 61 Revisited: Like a Rolling Stone, Tombstone Blues, It Takes a Lot to Laugh, It Takes a Train to Cry, From a Buick 6, Ballad of a Thin Man, Queen Jane Approximately, Highway 61 Re;Altri partiti dopo in automatico: Rocket Man (I Think It's Going To Be A Long, Long Time) – Elton John, Sultans Of Swing – Dire Straits, Piano Man – Billy Joel, Leopard-Skin Pill-Box Hat – Bob Dylan, All Along the Watchtower – The Jimi Hendrix Experience, Paint It, Black – The Rolling Stones, Wish You Were Here – Pink Floyd, I Want You – Bob Dylan, America – Simon & Garfunkel, Lady Midnight – Leonard Cohen, My Sweet Lord – George Harrison, Hurricane – Bob Dylan, Brown Eyed Girl – Van Morrison, Here Comes The Sun – Richie Havens, Sunshine Superman – Donovan, The Times They Are A-Changin' – Bob Dylan, American Pie – Don McLean, Come Together (Remastered 2009) – The Beatles, The Sound of Silence (Electric Version) – Simon & Garfunkel, Tangled Up in Blue – Bob Dylan, Dancing Barefoot – Patti Smith Group, If Not for You (2020 Mix) – George Harrison, Wild World (2020 Mix) – Cat Stevens, Pledging My Time – Bob Dylan, Brown Sugar (Remastered 2009) – The Rolling Stones, Mrs. Robinson (From "The Graduate" Soundtrack) – Simon & Garfunkel, The Weight (Remastered 2000) – The Band, Don't Think Twice, It's All Right – Bob Dylan, Dead Flowers (2009 Mix) – The Rolling Stones, Perfect Day – Lou Reed, The Boxer – Simon & Garfunkel, Rainy Day Women #12 & 35 – Bob Dylan, (I Can't Get No) Satisfaction (Original Single Mono Version) – The Rolling Stones, Walk On the Wild Side – Lou Reed, Heart of Gold (2009 Remaster) – Neil Young, Just Like a Woman – Bob Dylan, Something (Remastered 2009) – The Beatles, Turn! Turn! Turn! – The Byrds, Me and Bobby McGee – Janis Joplin, One of Us Must Know (Sooner or Later) – Bob Dylan.

Lors d'une étape de l'Outlaw Music Festival à Boise, Idaho, Bob Dylan a joué la chanson "Rainy Day Women 12 and 35" pour la première fois depuis presque une décennie, il assure actuellement une tournée aux côtés de la légende de la country, Willie Nelson. À l'approche de l'élection présidentielle américaine de 2024, Alice Cooper, l'icône du rock, relance sa campagne satirique habituelle en publiant un faux clip de campagne, depuis son tube "Elected" en 1972, il s'autoproclame candidat tous les quatre ans, transformant cette plaisanterie en une tradition du rock. Lors d'une apparition sur le podcast "This Past Weekend With Theo Von", Tommy Lee, batteur de Motley Crue, a raconté une célèbre anecdote impliquant Ozzy Osbourne durant leur tournée commune en 1984, incident, illustré dans le biopic "The Dirt" (2019), décrit Osbourne reniflant apparemment des fourmis et buvant sa propre urine après une nuit de fête. Mercredi, les Foo Fighters étaient à San Diego pour un show particulièrement touchant, certains moments émouvants sont venus de morceaux moins connus pour leur 1re performance à San Diego depuis le décès tragique du batteur Taylor Hawkins en 2022, avant de jouer "Aurora", un de ses morceaux préférés, Dave Grohl a évoqué la mémoire de son ami, soulignant ses liens avec la Californie du Sud. Un nouveau documentaire sur Paul McCartney et les Wings sera diffusé dans les cinémas du monde entier à partir du 26 septembre : filmé et enregistré par David Litchfield en 1974, pendant quatre jours, l'album et le film intitulés "One Hand Clapping" n'avaient pas été publiés à l'époque. Le groupe Massive Attack réagit aux émeutes racistes d'extrême droite qui ont éclaté en Angleterre, plus d'une semaine après l'attaque au couteau perpétrée par un jeune de 17 ans dans une école de danse à Southport, qui a coûté la vie à trois enfants et en a blessé huit autres. Mots-Clés : nouvelle, interprétation, 1966, Blonde on Blonde, célèbre, refrain, everybody must get stoned, immortalisé, fans, Ford Amphitheatre, Spirit on the Water, absent, performance, setlist, imprévisible, reprise, blues, country, répertoire, position, apolitique, interview, John Lennon, climat, absurde, terrain, fertile, satire, opinions, abus de pouvoir, All My Life, succès, The Pretender, Times Like These, Learn to Fly, enregistrements pirates, officiellement, traitement, backyard session, guitare acoustique, polaroïd, inédit, session, satisfaction, archives, période, succès, magie, fausses informations, identité, assaillant, demandeur d'asile, Ali Al-Shakati, attaques, mosquée, hôtels, pillages, commerces, Idles, Kneecap, réseau X, Twitter), Bristol, désinformation, en ligne, renforcer, surveillance policière. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et 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.

Intro song: Rainy Day Women #12 & 35 by Lenny KravitzAlbum 7: Blonde on Blonde (1966)Song 1: Stuck Inside of Mobile With the Memphis Blues AgainSong 2: Leopard-Skin Pill-Box HatBonus song: Visions of JohannaSong 3: One of Us Must Know (Sooner or Later)Album 8: The Basement Tapes (1975*)Song 1: Million Dollar BashSong 2: Please, Mrs. HenrySong 3: Clothes Line SagaOutro song: You Ain't Goin' Nowhere by Brett Dennen

¡Vótame en los Premios iVoox 2023! La irrupción de jóvenes talentos en el fútbol español, especialmente si son españoles (y del Barça), es jaleada entusiásticamente por los ciudadanos periodistas. No importa que algunos lleven apenas cuatro ratos mal contados en primera división, son elevados a los altares y considerados una bendición para sus equipos. El caso de Jude Bellingham es diferente. Alguno dice que todavía hay que esperar para emitir un juicio, otros que, en el fondo, sus actuaciones no hacen sino desnudar los problemas del Real Madrid. Min. 01 Seg. 46 - Intro Min. 10 Seg. 45 - Nadie le habría comprado Min. 16 Seg. 50 - En el partido grande, desapareció Min. 21 Seg. 51 - Hay que respetar a los rivales (menos a los del Madrid) Min. 30 Seg. 00 - Enfadado porque le engañaron Min. 34 Seg. 43 - Hay ganas de jubilarle Min. 40 Seg. 15 - Periodismo de ciencia-ficción Min. 45 Seg. 47 - Un día antes, estaba bien Min. 51 Seg. 15 - Hay que cambiar de portero para que la pifie Min. 57 Seg. 12 - El regreso del tonto útil Min. 62 Seg. 35 - Despedida Van Morrison (Aarhus 09/09/2000) Hello Josephine > Good Golly Miss Molly > Tutti Frutti > Roll Over Beethoven > Whole Lotta Shakin' Goin' On Outskirts Of Town Real Real Gone Goin' Down Geneva > Rainy Day Women > Brand New Cadillac Precious Time In The Midnight Vanlose Stairway Old Black Joe If You Love Me Cleaning Windows Bob Seger & The Silver Bullet Band - Hollywood Nights (Detroit, MI 16/06/1980)

This week we dive into The Rainy Day which is a fairly interesting episode in which every character is dealing with the rare rainy day in Cali (along with their white people problems) Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Josh Schwartz returns to join Rachel Bilson and Melinda Clarke to discuss “one of the greatest episodes ever,” The Rainy Day Woman, S2 Episode 14. Josh discusses how the Rainy Day woman idea came about and how they created all that rain for the episode. We get the real lowdown on how the Spider-Man kiss was shot, was it truly romantic? Insights into the Alex and Marissa relationship, Seth's reaction, and what was Sherman Oaks The Real Valley in reference to… Hear about the ads the cast turned down and that infamous super bowl commercial that Josh will not let Rachel forget. Also, hear about Melinda's love for cigars, rapid fire questions with Josh, and cassette tapes are making a comeback!  The Rainy Day Woman Best Synopsis: Summer can't fight it anymore, Seth is the one. Ryan is surprised when Lindsay finds out she's Caleb's daughter yet makes a difficult decision. Marissa's relationship changes its course when she moves in with Alex.

Wayne & Dee share the following stories and more- - Wayne continues his story of recording "Rainy Day Women" with Bob Dylan and how him and his fellow musicians got left off the session notes - how they were eventually paid "musician pay" for songs appearing in blockbuster films such as "Forrest Gump" and more - playing guitar on the Tammy Wynette session & hit song "Stand By Your Man" - the origins of Nashville session player, super-band's "Area Code 615" and "Barefoot Jerry" - Dee tells of opening for Elvis Presley in the 1950's - Dee talks about Producer Buddy Killen hiring her for a demo session that included Wayne Moss, Charlie McCoy, and Ray Stevens - more on Bob Dylan - Wayne shares incredible details on how the "Oh, Pretty Woman"guitar intro was created For more info on Wayne Moss, merchandise, and CDs go to - http://barefootjerry.com To hear the full story on how Wayne & Dee's relationship started and grew to the love they share today, click on this link and you can hear it on Peter Rodman's show- https://www.wxnafm.org/broadcasts/26926

There are a lot of great songs that touch on the weather, but which ones are the best? For this week's episode, we had some fun and voted on our 10 favorite weather-related songs of all time. Since this is a podcast about weather and climate, we tried to stick to songs that are actually about the weather as opposed to love songs that use weather as a metaphor. (Sorry "Purple Rain," "Rainy Day Women #12 & 35" and "Thunder Road," among others.) Joining the program this week is Terry Lipshetz, Across the Sky's behind-the-scenes producer, host and producer of the Hot off the Wire podcast and periodic host of the Behind the Headlines podcast. Lipshetz is a record collector and active on social media, where he curates his @vinyl_terry and @brucespringsteencollection Instagram accounts. We ended up with three songs tied at No. 10 and need your help. Vote here on the song you think should round out the Top 10. Also, check out our Spotify playlist where you can play all of the songs that made our Top 10! About the Across the Sky podcast The weekly weather podcast is hosted on a rotation by the Lee Weather team: Matt Holiner of Lee Enterprises' Midwest group in Chicago, Kirsten Lang of the Tulsa World in Oklahoma, Joe Martucci of the Press of Atlantic City, N.J., and Sean Sublette of the Richmond Times-Dispatch in Virginia.See omnystudio.com/listener for privacy information.

Rachel Bilson and Melinda Clarke are joined by cast members and celebrity fans of The O.C. to do a charity table reading of the infamous, Season 2, Episode 13, "The Rainy Day Women". Proceeds from today's event go to the charity, No Kid Hungry. ​​ No Kid Hungry is a nonprofit working to solve the problems of hunger and poverty in the United States and around the world. After 25 years of successfully investing in local nonprofits and helping find the best approaches to eradicating poverty and hunger. Please donate to them today: https://www.nokidhungry.org/ Special thanks to Charity Buzz, No Kid Hungry, James V Espey, Kast Media, and Josh SchwartzSee omnystudio.com/listener for privacy information.

Well, we're only seven months late. But here at long last is our Bob Dylan 80th Birthday special, featuring new conversations with some of favourite guests from the history of the podcast talking about different aspects of Dylan and his music from the 60s to the 90s to now. - Old Crow Medicine's Show Ketch Secor on how Bob Dylan changed Nashville, and the process of excavating and finally falling in love with Blonde on Blonde as Old Crow made their album length tribute. - Robyn Hitchcock dissects the A side of Blonde on Blonde track by track - Rainy Day Women #12 and 35, Pledging My Time, Visions of Johanna and One of Us Must Know (Sooner or Later). - Brian Koppelman on why Chrissie Hynde's Dylan tribute record is the perfect onramp for non-fans, and the underrated beauty of Bob's 1993 blues album World Gone Wrong, which set the tone for the second half of his career. - Bill Wyman on thirty years of Dylan's Never Ending Tour and why he's unlike every other rock star of his generation. - Steven Hyden on why Dylan's real secret might be that he's a pretty normal guy.

Ron replays Bob Dylan's "Rainy Day Women #12 & 35" for Eric, the ukulele teacher who clutched his pearls when Ron admitted that he forgot how to play the song.

You may not be familiar with the title of the song unless you know the artist...today we are talking about Bob Dylan and the song title is Rainy Day Women #12 and #30. Most people know this as the "Everybody must get stoned" song. Dylan says he has never written a drug, nor will he ever. So it must be about something different. I go into a bit of the background on this episode. Take a listen! Video of the song (there was no lyric video): https://youtu.be/fm-po_FUmvMThe music on the podcast is from John Nugent. John is a Chicagoland area musician who has been a real blessing to Tabor Church. Support the show (http://taborchicago.org/give/)

L'histoire d'une chanson. Celle de Bob Dylan : « Rainy day women » racontée par Ginger Joe.

NEW FOR JUNE 1, 2021 Something really nice . . . A Beautiful Thing - The Best Radio You Have Never Heard Vol. 412 1. Hometown / Stepping Out (solo acoustic) - Joe Jackson 2. Baby Let's Swing (full) - Todd Rundgren 3. Eli's Coming - Laura Nyro 4. Radio Song (unplugged) - R.E.M. 5. All The Rowboats - Regina Spektor 6. Heart Of Glass / Sprawl II (Mountains Beyond Mountains) (live) - Arcade Fire w/ Debbie Harry 7. Hey Mister Doctor - Jared Rabin 8. Harlan County Line (solo unplugged) - Dave Alvin 9. Reuben's Train (live) - Harry Manx 10. Little Goodnight - John Hiatt 11. Like A Rolling Stone (live) - Patti Smith 12. Just Like A Woman (live) - Bob Dylan and George Harrison 13. Rainy Day Women # 12 & 35 (live) - Bob Dylan w/ Tom Petty & The Heartbreakers 14. It's Good To Be King (early) - Tom Petty 15. Nomad On Mars - Stormy Strong 16. Everyday We Live - Crosby, Stills, Nash and Young 17. Almost Cut My Hair (alt) - Crosby, Stills, Nash and Young 18. Instant Karma (early) - John Lennon 19. Trying To Get It - Ron Haynes 20. Cookie's Puss (live) - Liquid Soul 21. Free Form Piano Intro / Does Anybody Really Know What Time It Is (live) - Chicago 22. The Spider / Portrait (He Knew) (live) - Kansas The Best Radio You Have Never Heard. Opening up in the heartland. Accept No Substitute. Click to join the conversation on the Facebook page.

The midpoint of the season brings about an abrupt shift, including news for Allison, a boon for Syd, Peter as the voice of reason, and lots of talk about email.

Gen and Jette get wet. It's rainy in Newport Beach and it is causing more than traffic problems. Summer is headed to Italy for Zach's sister's wedding... or is she? Marissa tells Julie that she is dating Alex and decides to move into Alex's apartment. Ryan and Lindsay learn if Caleb is really her father but Renee is head to Chicago so Lindsay is torn. Sandy and Kirsten are not in a good place as he gets stuck in a motel with Rebecca on a rainy night.

- Season 2 Episode 14 - If you enjoy singing Boyz II Men and getting caught in the rain in your spider man mask, then this episode is 100% your vibe. Join Heather and Kerry as they deep dive into Newport Beach this week. As a first time watcher, Heather gets to see THAT KISS for the first time! While Kerry's heart is breaking with Zach at the airport. All together now, "SO WE'VE COME TO THE END OF THE ROAD". For more I’ve Never Seen The OC updates - follow us on Twitter and Instagram by searching for “Never Seen The OC.”

@Lucio91.9FM te cuenta la historia que hay detrás de esta canción de Bob Dylan, la cual se ha llegado a decir que sugiere el uso de una droga en particular. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lucio-morales/message

Sign on the Window isn't the Bob Dylan podcast you need, but it's definitely the one that you want! Each week we select a Dylan song at random, live with the song for a week (or two) and then get together to discuss. This week is karma for Daniel talkin' shit last episode, "Rainy Day Women #12 & 35" from Blonde on Blonde. In this episode, we discuss the usual: Initial Thoughts (6:00) Context (10:30) Versions (18:00) Song Itself — split in 6 ways to view this song [Rebelliousness, Protest, Religion, Random everyday events, autobiographical, its ties into Blonde on Blonde] (26:30) Real podcast and Playlist (52:30) Recommendations (1:06:00) Endings (1:18:00) As always, full show notes at our website. You can also follow along with our weekly real-time Spotify playlist – See That My Playlist is Kept Clean – or listen to our dedicated playlist for this episode – and join the conversation on the usual suspects: Twitter, Facebook, Instagram. And if you're loving us, consider our Patreon. For as little as one dollar you get early access to every episode we do as soon as they're edited (and a dedicated feed just for you) and exclusive content that'll only ever be on Patreon. Thanks! Next episode: My eyes danced a circle / Across her clear outline

This week, SPIDER-MAN KISS! Also, Lindsay and Rebecca finally leave and Marissa is having trouble with her new relationship. Also, Scott is bummed about the death of his favorite website and Elyse got to spend some time with family.  Support us on Patreon: https://patreon.com/doofmedia Follow us on Twitter: @doofmedia See all of our podcasts, writing, and more at https://doofmedia.com!

This episode of DISCovery is all about rock’s first great double album – Bob Dylan’s ‘Blonde on Blonde’ from 1966. In fact, it’s the first double album ever released. This album came at what was Bob Dylan’s creative peak. As he told Rolling Stone in 1969, “I was going at a tremendous speed at the time of my ‘Blonde on Blonde’ album. The closest I ever got to the sound I hear in my mind.” He described it as having “that thin, wild, mercury sound.”Rolling Stone described Blonde on Blonde as a chain-lightning mix of rock & roll, novelty music, surrealist ballads, Chicago blues and psychedelic country with peels of lyrical invention and epic song lengths.We’ll get into the 14 classic tracks (listed below), the meaning behind the album title and the story behind the iconic cover photo. Plus, hear clips from Dylan’s legendary press conference held in December of 1965 in San Francisco.SIDE ONE:1. "Rainy Day Women #12 & 35"2. "Pledging My Time"3. "Visions of Johanna"4. "One of Us Must Know (Sooner or Later)"SIDE TWO:1. "I Want You"2. "Stuck Inside of Mobile with the Memphis Blues Again"3. "Leopard-Skin Pill-Box Hat"4. "Just Like a Woman"SIDE THREE:1. "Most Likely You Go Your Way and I'll Go Mine"2. "Temporary Like Achilles"3. "Absolutely Sweet Marie"4. "4th Time Around"5. "Obviously 5 Believers"SIDE FOUR:1. "Sad Eyed Lady of the Lowlands"Find DISCovery on Facebook at www.facebook.com/TheDISCoverypodcasthomeThe DISCovery theme song "Woo Hoo" by Reebosound (https://reebosound.bandcamp.com)Please give the show a five-star rating and review wherever you listen to DISCovery!

Dr. Court Carney returns to the podcast to talk about Bob Dylan. Court is not only a fan, he has taught a class on Dylan at Stephen F. Austin State University, where he is a professor history.  Court's interest in Dylan began when he listened to his dad's copy of Nashville Skyline thirty years ago. In grad school, he took a deeper dive into the Zimmerman catalog by absorbing such classics as Blonde on Blonde, Blood on the Tracks, and John Wesley Harding. Court has also been fascinated by the Dylan-Guthrie connection, which has taken him to archives in Tulsa to examine Guthrie's personal papers. Guthrie died in 1967, by which time Dylan had retreated to Woodstock, NY, to recover and reconceptualize his art and music. While in Woodstock, Dylan began recording with The Band. What emerged was a new kind of American roots music. In a country founded on legends and self-made men, Court and Colin examine the myth vs. reality of Dylan. They also tackle such questions as: how political was he? Is his Christmas album worth listening to? Was he really seriously injured in a motorcycle crash? And is "Rainy Day Women 12 & 35" a drug song? Dr. Carney explains all!

Hollywood, the latest product of Ryan Murphy's Netflix deal, has hit the streaming service. What did we think about his ahistorical take on marginalized voices in the film industry? Kevin O'Keeffe joins us to discuss! Around The Dial clicks through Betty, Never Have I Ever, The Circle Brasil, and Masterpiece's new procedural Baptiste. Erica uses her Extra Credit to get us to pitch new Big Mouth transfer students and the Hormone Monsters they'll bring with them. Kevin pitches The O.C.'s "The Rainy Day Women" for induction into The Canon. Then after naming the week's Winner and Loser, we kick off a new season of Game Time with a quiz that tests our knowledge of shows' 300th episodes. Jerk yourself a soda and join us! GUESTS

Hollywood, the latest product of Ryan Murphy's Netflix deal, has hit the streaming service. What did we think about his ahistorical take on marginalized voices in the film industry? Kevin O'Keeffe joins us to discuss! Around The Dial clicks through Betty, Never Have I Ever, The Circle Brasil, and Masterpiece's new procedural Baptiste. Erica uses her Extra Credit to get us to pitch new Big Mouth transfer students and the Hormone Monsters they'll bring with them. Kevin pitches The O.C.'s "The Rainy Day Women" for induction into The Canon. Then after naming the week's Winner and Loser, we kick off a new season of Game Time with a quiz that tests our knowledge of shows' 300th episodes. Jerk yourself a soda and join us!SHOW TOPICSHollywoodATD: BettyATD: Never Have I EverATD: The Circle BrasilATD: BaptisteExtra Credit: Hormone Monsters For Everyone!The Canon: The O.C. S02.E14: "The Rainy Day Women"Winner and Loser of the WeekGame Time: First And 300SHOW NOTESKevin O'Keeffe on TwitterTara on Good GirlsKiki With KevinThe Blotter PresentsPhoto: Saeed Adyani / NetflixDISCUSSIONTalk about this episode on its dedicated page on ExtraHotGreat.comTweet at us @ExtraHotPodcast on TwitterWe are @ExtraHotGreat on InstagramSUPPORT EHG ON PATREONThe EHG gang have been recording this podcast for almost a decade now. In podcasting terms, that makes us positively Methuselahian. Since the start of EHG, our listeners have asked if we had a tip jar or donation system and we'd look at each other and say surely that is a joke, people don't pay other people to do podcasts. We'd email them back "Ha ha ha, good one, Chet" and go about our business. Now we are told this is a real thing that real nice people do. Value for value? In today's topsy turvy world? It's madness but that good kind of madness, like when you wake up a 3:15am and clean your house. Or something. In all seriousness, we are humbled by your continued prodding to get a Patreon page up for EHG and here it is! Extra Hot Great on Patreon See acast.com/privacy for privacy and opt-out information.

Bland shakande pågar och tongivande töser. I andra delen av Ulf Henningssons och Åke Erikssons Skåneresa i popens tecken går färden till Landskrona, Helsingborg, Åstorp, Klippan, Ängelholm, Torekov, Höganäs, Hörby och Jordberga. Som vanligt görs upptäckter av de märkligaste slag när de vänder på varenda torva i sin jakt på popmusikens innersta väsen. Nej, just det, oväsen blir det nog snarare frågan om. Allt enligt devisen: ju skramligare desto bättre! På bilden: Rainy Day Women från Helsingborg.

For decades cannabis was criminalized and portrayed as simply a way to get high. The true power of cannabis is now coming to light again, as an incredible source of medicinal possibilities to include treating and curing some of the worst diseases like cancer. Even now as CBDs take center stage the power of the entire natural plant is still being hidden and THC again removed from the equation. Without the full spectrum of the cannabis plant, to include THC, the medicinal value is diminished. The lyric below shows intentional programming designed to relegate cannabis as dope – a way to get high, and nothing more. Dylan even claimed the below lyric had nothing to do with marijuana – It is Biblical, he claimed – HA! Let the programming commence… Bob Dylan April 1966 / Rainy Day Women ♯12 & 35 (=11)Well, they’ll stone ya when you’re trying to be so goodThey’ll stone ya just a-like they said they wouldThey’ll stone ya when you’re tryin’ to go homeThen they’ll stone ya when you’re there all alone But I would not feel so all aloneEverybody must get stoned

This week I touch lightly on Dave Ramsey's 7 baby steps to a debt free life. Cryptocurrency was the best performing asset class of 2019, when are you going to get in the game? I do my best Bob Dylan impression - Rainy Day Women song parody opener. Just a few more shows before we morph into the expanded Dana Crypto show with a new time slot starting January 4th.

THE OCD 76:Rainy Day Women, Part IIMike and Ryan discuss The OC episode Rainy Day Women! During a rainy day in Burbank, Mike decides to take the DNA test and makes a difficult choice regarding her life with Ryan, while Taylor helps him through it. Meanwhile, Ryan still wants to help Mike with his case and tries to convince her not to run again. He ends up running with him, and they find themselves in a run-down hotel. Taylor is still upset and confides in Greg about her problems and wishes his marriage could go back to normal. All of that, and so much more, on an all-new The OCD! Also don't forget toListen to the Unnatural 20's podcast!Visit our websiteUse our Amazon page!Join our Patreon team!Like us!Follow us!Write to Us! - contact@yourpopfilter.comCall Us! - 1.562.DrDJPop Support the show (https://www.patreon.com/yourpopfilter)

THE OCD 75:Rainy Day WomenMike and Ryan FINALLY discuss the greatest episode in TV history, The Mallpisode! After Ryan moves away to Chicago with his mother, Mike is heartbroken and Taylor is confused. Greg, Taylor, and Ryan invite Mike to the local mall to get his mind off things. But things take a turn when they get stranded in the mall after hours. Meanwhile, Mike tries to make amends with Ryan by searching for their wedding ring, or making a grand gesture that will take him back to the time that Mike first proposed. Also, Ryan and Mike call an editor for their new magazine, Newport Living, but at the same time Mike's Riverside past catches up to him, in the form of porno. All of that, and so much more, on an all-new The OCD!Also don't forget toListen to the Unnatural 20's podcast!Visit our websiteUse our Amazon page!Join our Patreon team!Like us!Follow us!Write to Us! - contact@yourpopfilter.comCall Us! - 1.562.DrDJPopSupport the show (https://www.patreon.com/yourpopfilter)

Find us here! twitter: twitter.com/letstalkoc instagram: instagram.com/letstalkoc email us: letstalkoc@gmail.com Would you like to support the show?! Support us on Patreon: www.patreon.com/ittakes3network // Visit www.EverythingTheOC.com and use code "letstalk" to receive $5 off your order Snail Mail: PO Box 76 Coram, NY 11727

FRIDAYSToday’s Bombshell (Bombshell Radio) Bombshell RadioJazzamatazz Double Header Today 1pm-3pm EST 6pm-8pm BST 10am-12pm PDT bombshellradio.comSmiling Sixties is a collection of non-stop hits & classics from the 1960s. A blend of Rock'n'Roll,Soul,Pop,Beat,Rock & lots more groovy sounds from a great decade of music. 22 tracks that still put smiles on faces over half a century later.sixties, #oldies, #rocknroll, #pop, #60s, #rock, #R&B, #soul, #1960s, #classics1 Brown Eyed Handsome Man Buddy Holly 2 19th Nervous Breakdown The Rolling Stones 3 I Want You Back Jackson 5 4 Hello Goodbye The Beatles 5 Google Eye Nashville Teens 6 My Generation The Who 7 Rainy Day Women #12 & 35 Bob Dylan 8 Not Too Young to Get Married Bob B. Soxx & The Blue Jeans 9 All I Have To Do Is Dream Bobbie Gentry & Glen Campbell 10 You've Lost That Lovin' Feelin' The Righteous Brothers 11 I Just Don't Know What To Do With Myself Dusty Springfield 12 Elusive Butterfly Bob Lind 13 (Your Love Keeps Lifting Me) Higher and Higher Jackie Wilson 14 Rosie Don Padridge 15 Moon River Danny Williams 16 You're All I Need To Get By Marvin Gaye & Tammi Terrell 17 For Your Love The Yardbirds 18 Walkin' Back To Happiness Helen Shapiro 19 You Can't Hurry Love The Supremes 20 Boris the Spider The Who 21 The Tracks Of My Tears Smokey Robinson & The Miracles 22 Green Green Grass Of Home

THE OCD 48: The Chrismukkah That Almost Wasn't On this very special episode of The OCD, Mike and Ryan discuss the the 33rd episode of The OC, The Chrismukkah That Almost Wasn't! This is the big one people. I know that we're still months away from The Mallpisode and Rainy Day Women, but they really don't compare to this, the most massive, most…The post The OCD 48: The Chrismukkah That Almost Wasn't appeared first on PopFilter.Support the show

We have a special guest! Our number one fan, Emily, weighs in on an iconic episode of The OC. We discuss the Spiderman kiss, and finally say goodbye to Rebecca and Lindsay! As always, follow us: @ecandtheoc

Going through OC Season 2 Episodes 10 thru 13, which leads Brian & Pat up to one of the most impactful episodes ever created in television history...Episode 14 "The Rainy Day Women." Featuring Tips for the kids, Mmm that's good stuff- lines of the week, MCITW (brought to you by Wicklow Wear), and a quick moonlight into the podcast studio by our very own Intern Whitney.

We've got another heist movie on tap this week with the 1992 surprise success, Sneakers. Honestly, I can't really understand how this made as much money as it did. Robert Redford was significantly passed his prime and coasting off of his innate charisma, Dan Aykroyd provides zero comic relief, River Phoenix is a a weird spastic guy that is unlike pretty much any role he's ever played, and Sidney Poitier is a smooth muthafucker as usual. Oh, and Mary McDonnell is her usual charming self. Now, Mike may disagree, but to me this movie seemed like a waste of time for pretty much everyone involved. Ben Kingsley tries to make things interesting, but he's given absolutely nothing to work with. David Strathairn plays a blind man that is borderline cringe inducing and Donal Logue is milquetoast for the first, and maybe only time in his career. In my notes, I called this movie a “paint by numbers heist movie, and I feel like I'm watching it dry.” After some time to sit down and reflect on that, I have not changed my mind one bit. In fact, I feel galvanized. On the plus side, the music in this movie is awesome, including the Bob Dylan classic Rainy Day Women, Miles Davis Flamenco Sketches, Stan Getz's Girl From Impanema, Aretha Franklin's Chain of Fools. Somehow this unbelievable soundtrack ends up being way less effective than it should be given the absolute bomb ass songs on it. We are always looking for suggestions of movies you want us to recast, or some feedback on the picks that we've made. Your opinion matters to us (even if it's likely wrong), so let us know what you are thinking on twitter @recastingpod, or email us at recastingpod@gmail.com.   Link to IMDB Link to Amazon

“Motiv8” J Cole “The Man” Blu & Nottz feat. Exile “Help” Del the Funky Homosapien & Amp Live feat. Adult Karate “The Rebel (Remix)” Black Milk feat. KING PIKEEZY Interlude: John Oliver BG Music: “Dillatronic 10” by J Dilla “The Bryan Song” Sean Price & Illa Ghee (feat. Rim) “Loungin’” [Square Biz Mix] Guru feat. Donald Byrd “Circle” Pac Div “The Grind” Erykah Badu feat. Dead Prez “Best Friend” Apheenx “From the 718” Pete Miser “I Can’t Wake Up” KRS ONE “Friday” Ice Cube Interlude: “Friday” “Kush” Dr. Dre feat. Snoop Dogg & Akon “I Got 5 On It” Luniz “Everybody Must Get Stoned” Cypress Hill “Rainy Day Women #12 & 35” Bob Dylan “Keep it Locked” Pete Miser “Because I Got High” Afroman

This week, Betsy DeVos announced her intention to open a process that will lead to changed regulations for publicly-funded campuses responding to sexual assault allegations under Title IX. We discuss this announcement, a variety of social media hot topics, and Sarah's trip to Washington D.C. Please consider supporting Pantsuit Politics through a monthly contribution that will allow you to access the secret garden of content on Patreon. We'd also love to hear from you if you're in a relationship with someone who has completely different political views than you. Email your voice memos to sarah@pantsuitpoliticsshow.com and beth@pantsuitpoliticsshow.com. Thanks so much to our sponsors for this episode: Joan Osborne’s brand-new album, “Songs of Bob Dylan,” features 13 Bob Dylan covers that span his entire career – including "Tangled Up in Blue," "Rainy Day Women," "Quinn the Eskimo," and more. For tour dates and more information, check out JoanOsborne.com. Get Joan Osborne’s “Songs of Bob Dylan” now on Amazon. ModCloth is your go-to spot for fashion as unique as you. Whip up your wardrobe with quirky prints and classic silhouettes. Make every day extraordinary by going to modcloth.com and entering the code PANTSUIT to receive $30 off your purchase of $100 or more. Ellevest is the online investment platform for women where you can invest in specific life goals such as buying a house, starting a business, or retiring comfortably. Ellevest gives you a free financial plan — customized for you, based on where you are now and where you want to go with your finances. Go to ellevest.com/pantsuit to get $100 toward your first funded goal when you sign up with Ellevest. The Pearls We briefly review the history of Title IX (also named the Patsy Takemoto Mink Equal Opportunity in Education Act) before discussing Betsy DeVos's announcement that she'll be reviewing and replacing the Obama administration's guidance on campus sexual assault. We talk about the difficulty of grappling with both the criminal and non-criminal aspects of harassment, the i

This week on the pod, we have returning delightful O.C fan and knower of all comic book things, Trevor Reece (@trevorcopter, @Po2W_Flash)! The #midseasonslump is OVER as we chat S2 E14 "The Rainy Day Women". We also discuss technicalities of the Spider-Man kiss, Seth redeeming himself, Marissa's inability to face responsibility, Zach as a doormat, the tiny Seth doppleganger, Rebecca leaving, the Thor: Ragnarok trailer, 13 Reasons Why, and the Power Rangers movie. Also, listen for our recurring theme: it was fate that Trevor was on this episode (via The Flash comics).

Hallelujah, it's raining Cohens! The O.C. is set upon by a rare rainstorm, and it serves to cleanse the show of a number of straggling storylines. Rebecca! Summer! Kirsten! Julie! Alex! All the women get to move along in their storyline after spinning their wheels the last few episodes. The OC Men - with special guest Jaleh - watched S02E14 of The O.C., "The Rainy Day Women"

1. Frankenstein 2. It Ain't Over 'Til It's Over 3. Thinking of You 4. Dancin' Til Dawn 5. Superlove (RedTop Original Extended Version) 6. New York City 7. Dig In 8. California 9. Mr. Cab Driver 10. Are You Gonna Go My Way 11. Love, Love, Love 12. Strut 13. Lady 14. Always On The Run 15. Fly Away 16. Battlefield of Love 17. Where Are We Runnin' 18. I'm A Believer 19. Rainy Day Women #12 & 35

Rainy Day Women #12 and 35-Bob Dylan

Earth Day is upon us and I strongly suggest each of you pick up the following double disk of live music goodness - Music for the Planet. In collaboration with bands such as Widespread Panic, Phish, The Grateful Dead and thirteen others Nugs.net has produced this exclusive compliation to benefit Rock the Earth, a non-profit environmental advocacy group.Do something for yourself, get some great music and help secure a sustainable future for us all - pick up the CD here.Did you know it's April 20th today?!I figured I would go back and find what I had from performances on April 20th and present some highlights. April 20, 1990 makes the cut here for intro music with Snorkle Search. This is a free-form jam that was named by Larry Acquaviva, a former roadie who took extensive notes during shows. We've kept this piece of 'Larry's Code' in the database as a tribute to Larry's contribution to the project, which is extensive. I also had highlights from 4/20/1993 but frankly they just weren't very good...So here's how this week's cast goes down:Intro musicApril 20, 1990Murfreesboro, TNSnorkle Search (free-form jam named by Larry Acquaviva, roadie for Widespread Panic)April 20, 2002Raleigh, NCRainy Day Women #12 & 35April 20, 2001Knoxville, TNPusherman >Rebirtha >PushermanApril 20, 1996Buckhannon, WVDirty Business >Love Tractor >Dirty BusinessApril 20, 1997Washington, D.C.And It Stoned MeApril 14, 2007Huntsville, ALElectric Funeral Jam >Flat Foot FlewzyMake sure to click COMMENT below to let us know what you think -DOWNLOAD the cast here (right click to save to hard drive):Everyday Companion Podcast #46Click here to subscribe through iTunes.